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ARTHUR  S.  MELOY 


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LIBRARY 

THE  UNIVERSITY 
OF  CALIFORNIA 

SANTA  BARBARA 

PRESENTED  BY 

Glen   G.    Mosher 


GLEN     G.     MOSHER 


I.     SAXE    THEATRE,   MINNEAPOLIS,    MINN. 
Chapman   &   Magney,   Architects 


THEATRES 

and 

Motion  Picture  Houses 


A  PRACTICAL  TREATISE  ON  THE 
PROPER  PLANNING  AND  CON. 
STRUCTION  OF  SUCH  BUILDINGS 
AND  CONTAINING  USEFUL  SUG- 
GESTIONS, RULES  AND  DATA  FOR 
THE  BENEFIT  OF  ARCHITECTS, 
PROSPECTIVE    OWNERS,    ETC. 


BY 

ARTHUR  S.  MELOY 

ARCHITECT 

NEW  YORK  and  BRIDGEPORT,  CONN. 


Illustrated  with  Line  drawings  by  the  oAuthor 


V. 


First  Edition — Two  Thousand — Price  ^3.00 

•■Tuhltshed  by 

ARCHITECTS'  SUPPLY   &  PUBLISHING   COMPANY 

Tribune  Building,  New  York  City 

1916 


FIRST  EDITION 


Copyright  1916 

by 
Arthur  S.  Meloy 


Press  of 
FEDERAL  PRINTING  CO. 
New  York  City 


Fig. 

1. 

Fig. 

2. 

Fig. 

3. 

Fig. 

4. 

Fig. 

5. 

Fig. 

6. 

Fig. 

7. 

Fig. 

8. 

Fig. 

9. 

Fig. 

10. 

Fig. 

11. 

Fig. 

12. 

Fig. 

13. 

Fig. 

14. 

Fig. 

15. 

Fig.  16. 

Fig. 

17. 

Fig. 

18. 

LIST  OF  ILLUSTRATIONS 

I.  Saxe  Theatre,  Minneapolis,  Minn. 

II.  Orpheus  Theatre,  Chicago,  111. 

III.  New  Orpheum  Theatre,  Kansas  City,  Mo. 

IV.  American  Theatre,  Chicago,  111. 

V.  Loew's  National  Theatre,  New  York. 

VI.  Regent  Theatre,  New  York. 

VII.  Elsmere  Theatre,  New  York. 

VIII.  Eltinge's  Theatre,  New  York. 


LIST  OF  PLATES 

Page 

Floor  Plan 5 

Balcony  Plan 7 

Section 11 

Section 13 

Section 14 

Section 16 

Section 18 

Section 22 

Floor  Plan 32 

Balcony  Plan 32 

Section 33 

Section  of  Stage 40 

Section  of  Stage 41 

Details  of  Pin  Rails 44 

Balcony  Plan 47 

Floor  Plan 48 

Floor  Plan 53 

Plan  of  Stage 55 


CONTENTS 


Page 

Preliminary    1 

Selection  of  Site   2 

Planning  a  Theatre   2 

Length   of  "Throw"    4 

Rule      for      Estimating      Approx. 
Seating   Capacity    4 

Design    6 

Construction    6 

Fire  Proof  Construction    8 

Windows    8 

Sight    Lines    9 

Steppings  of  Balcony   12 

Pitch  of  Floors    17 

Balcony    19 

Projection   Lines    20 

Screens    20 

Lenses  and  Focusing   20 

Table  of  Sizes  of  Screens 61,  62 

Boxes  and  Loggias   21 

Stairs    21 

Fire  Escapes   23 

Exits    24 

Aisles    25 

Seating    26 

Capacity  of   Various   Theatres...   28 

Proscenium   Arch    29 

Proscenium   Curtain    30 

Asbestos   Curtain    31 

Steel  Curtain    30 

The  Stage  Proper   34 

Stage  Floor   39 

Apron     39 

Height  of  Stage  Floor 42 

Width  of  Stage   42 

Depth  of  Stage   42 

Switchboard    43 


Page 

Fly  Galleries   43 

Pin   Rails    43 

Gridiron    45 

Stage      Dimensions      of      Various 
Houses    49 

Stage  Doors    50 

Paint    Bridge    50 

Lighting  Gallery   51 

Scene  Dock   51 

Stage   Skylights   and   Ventilators..  51 

Egress    52 

Traps     52 

Floor   Finish    54 

Floor   Loads    56 

Ceilings    56 

Terra  Cotta  56 

Elevators   and    Escalators 57 

Projection      Room      or      Machine 

Booth    58 

Scenery    66 

Theatre    Fires    70 

Panics  in  Theatres    71 

Fire    Drills    72 

Building  Codes  and  Tables 72 

Decorations   74 

Heating    75 

Ventilation     78 

Auditorium  Lighting   82 

Stage    Lighting    85 

Electric    Wiring    96 

Sprinkler   Systems   89 

Stand    Pipes    94 

Fan  Room   95 

Advertising    Space    95 

Extracts    from    the    N.    Y.    Build- 
ing Code  Relative  to  Theatres.  .  122 


PREFACE 

AS  there  are  a  great  number  of  theatres  being  built  in  this, 
/\  and  other  countries  yearly,  and  an  increasing  demand 
-^  -^  for  many  more  in  the  future,  and  as  there  has  been 
no  treatise  on  the  subject  published  in  book  form  for  the  past 
twenty  years,  the  author  realizes  the  need  for  a  book  that 
will  give  to  the  architect,  prospective  owners  and  managers, 
some  general  information  in  the  proper  planning  of  various 
types  of  theatres.  This  work  has  been  prepared  for  the  bene- 
fit of  those  who  are  interested  in  this  type  of  structure,  and 
the  author  hopes  the  desired  end  may  be  accomplished. 

The  author  wishes  to  acknowledge  with  thanks  the  many 
valuable  suggestions  furnished  by  the  following  gentlemen 
in  reference  to  the  stage  and  its  equipment. 

Mr.  J.  H.  M.  Dudley,  of  the  Lee-Lash  Studios,  N.  Y.  City. 

Mr.  J.  R.  Clancy,  of  Syracuse,  Mfr.  of  stage  hardware. 

Mr.  J.  H.  Kliegl,  of  the  Universal  Stage  Lighting  Co.,  of 
N.  Y.  City. 

Any  criticism  by  the  reader,  or  any  suggestions  for 
improvements  in  this  book  for  future  editions,  will  be  kindly 
received  by 

THE  AUTHOR. 
Bridgeport,  Connecticut,  January,  1916. 


PRELIMINARY 

THERE  are  a  great  number  of  theatres  in  this  country 
devoted  to  opera,  drama,  vaudeville,  stock,  etc.,  which 
we  are  all  familiar  with,  and  many  of  them  are  beautifully 
designed  and  properly  and  successfully  planned. 

This  type  of  theatre  has  been  in  use  for  centuries  and 
probably  will  always  be  in  demand  so  that  new  theatres  for 
all  purposes  will  be  built  from  time  to  time. 

Houses  devoted  to  the  legitimate  plays  and  for  combina- 
tion vaudeville  and  pictures,  will  continue  to  be  in  demand, 
but  the  greatest  demand  at  present  is  for  the  motion  picture 
theatre. 

There  are  about  25,000  picture  houses  in  this  country 
alone,  and  representing  an  investment  of  about  175,000,000 
of  dollars,  w^ith  an  average  daily  attendance  of  about 
6,000,000  of  people. 

The  business  is  going  ahead  with  great  strides,  and  is 
continually  being  developed,  and  improved.  It  combines 
pleasure  and  amusement  with  instruction.  The  growth  has 
been  phenomenal  and  unprecedented. 

The  larger  theatres  are  being  converted  to  its  use  in 
many  of  the  large  cities. 

Very  few  people  are  able  to  travel  the  world  over  on 
account  of  the  time  and  expense  required,  but  it  is  within  the 
reach  of  everybody  to  see  the  scenes  gathered  from  all  over 
the  world  and  displayed  on  the  screen  at  a  low  cost  while 
he  sits  in  comfort. 

Pictures  offer  one  of  the  best  kinds  of  entertainment 
to-day,  and  will  continue  till  someone  can  invent  something 
better  for  the  same  admission  fee. 


2  THEATRES  AND  PICTURE  HOUSES 

SELECTION  OF  SITE 

IN  selecting  a  site  for  a  theatre,  the  first  and  most 
important  thing  to  be  considered,  after  the  matter  of 
surrounding  population,  regular  and  transient  traffic,  and 
its  relative  position  to  other  theatres  is  concerned,  is  the  lot 
upon  which  the  house  is  to  be  built. 

It  should  be  on  a  prominent  street,  convenient  to  passing 
trolleys,  and  in  no  case  on  a  dark  side  street.  People  will 
always  walk  on  the  main  or  principal  streets  that  are  well 
lighted. 

The  lot  should  be  of  such  size  as  to  give  the  desired  seating 
capacity,  as  well  as  provide  the  necessary  exits  on  one  or 
both  sides,  or  in  the  rear  to  a  street  or  alley  as  required 
by  law. 

PLANNING  A  THEATRE 

In  planning  a  theatre  building,  the  skill  of  the  architect 
is  probably  taxed  more  than  in  any  other  type  of  building 
on  account  of  its  complex  features.  His  talents  are  brought 
into  play  to  create  a  safe,  comfortable  and  pleasing  result. 
The  architect  not  only  has  to  work  out  the  best  arrangement 
of  the  building  regarding  seating,  sight  lines,  heating,  venti- 
lation, fighting,  etc.,  but  has  to  give  special  attention  to  the 
construction,  foundations,  safety  of  the  public  and  many 
other  intricate  problems. 

The  laws  of  each  state  and  each  municipality  vary  in 
regard  to  exits,  etc.  Therefore,  it  is  necessary  to  look  up 
aU  state  and  local  laws  relative  to  safety,  health,  fire,  licenses, 
etc.,  before  any  attempt  to  plan  the  house  is  started.  (See 
Extract  of  State  and  Municipal  Laws,  on  following  pages.) 


THEATRES  AND  PICTURE  HOUSES  3 

If  two  theatres  are  located  side  by  side,  the  larger  and 
more  pretentious  house  will  draw  the  greater  crowds.  One 
reason  for  this  is  that  they  will  go  where  the  crowd  goes, 
and  they  feel  that  there  are  better  chances  for  getting  a 
seat  in  the  larger  houses.  There  are  probably  other 
reasons. 

If  the  proposed  theatre  is  to  be  a  large  one  for  drama, 
vaudeville  or  stock,  besides  pictures,  it  may  be  placed  on  a 
rear  lot  with  stores  in  front  and  offices  above  the  entrance, 
if  desired,  but  if  it  is  a  small  heatre  it  is  not  advisable  to 
have  stores  in  front  as  the  spac  occupied  by  the  stores  may 
be  used  to  much  better  advantage  by  increasing  the  seating 
capacity,  and  the  extra  seats  gained  will  bring  in  much  more 
revenue  than  one  or  two  small  stores,  no  matter  how  valuable 
the  land  might  be.  It  is  very  easy  to  figure  out  the  differ- 
ences in  the  rent,  and  the  additional  capacity  obtained. 
Then  again,  the  front  of  the  theatre  may  be  made  much  more 
attractive  if  the  building  is  devoted  to  amusement  purposes 
only.  It  will  also  give  an  opportunity  for  a  wider  lobby 
which  all  theatre  managers  desire. 

For  a  regular  theatre  equipped  with  a  stage,  a  wide  house 
is  desirable  up  to  and  net  exceeding  80  ft.  A  width  of  from 
70  to  75  ft.  is  ideal,  and  on  account  of  the  extra  width  the 
depth  of  the  house  may  be  shortened  and  still  give  the 
required  seating  capacity;  this  form  of  house  brings  the 
audience  nearer  the  stage.  The  depth  of  any  theatre  where 
speaking  parts  are  to  be  given  should  not  exceed  75  ft.  from 
the  curtain  line  to  the  rear  seats,  as  the  human  voice  will  not 
carry  more  than  that  distance  without  straining.  The  front 
of  the  balcony  should  not  be  nearer  than  30  ft.  from  the  cur- 
tain line.    The  nearer  it  is  to  the  curtain  line,  the  higher  it 


4  THEATRES  AND  PICTURE  HOUSES 

will  be  at  the  rear,  or  the  last  row  of  seats,  and  therefore 
more  stairs  to  climb. 

Picture  houses  are  generally  built  on  a  50  ft.  lot,  and  may 
be  considerably  longer  than  a  regular  theatre. 

While  the  limit  of  "throw,"  or  distance  from  the  machine 
to  the  screen,  is  150  ft.,  the  proper  distance  for  good  results 
is  from  60  ft.  to  85  ft.  (See  table  of  distances.)  No  screen 
should  be  nearer  than  35  ft.  from  the  machine. 

Most  picture  theatres  are  built  on  inside  lots.  Only 
occasionally  are  they  built  on  a  corner  lot  or  on  a  lot  running 
through  from  one  street  to  another.  Therefore,  courts  or 
passageways  must  be  provided.  Some  cities  require  passages 
on  both  sides,  while  others  on  one  side  only.  (See  extract  of 
laws.) 

Very  few  theatres,  in  proportion  to  the  number  built,  are 
properly  planned,  on  account  of  lack  of  practical  experience 
of  the  designers,  and  the  misguided  demands  of  the  owners. 

No  living  rooms  should  be  placed  above  any  theatre,  but 
club  rooms,  dance  halls  and  offices  are  permissible. 

The  rule  for  estimating  the  approximate  seating  capacity: 
find  the  sq.  ft.  area  of  auditorium  and  divide  by  6,  this  will 
give  capacity  of  main  floor.  For  balcony  area,  divide  by  7. 
This  rule  is  safe.  Of  course,  the  only  correct  way  is  to  lay 
out  the  aisles  and  space  for  seats  on  the  plan  and  count 
them.     (See  article  on  "Aisles  and  Seats.") 

The  average  capacity  for  large  houses  is  from  1200  to 
1800,  and  for  small  houses  from  400  to  1000. 

Provisions  should  be  made  for  a  manager's  office,  also 
toilet  and  retiring  rooms,  and  sometimes  check  rooms.  In 
the  larger  theatres  provision  is  made  for  rooms  for  the  stage 
manager,  store  rooms  for  the  stage  carpenter  and  electricians. 


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6  THEATRES  AND  PICTURE  HOUSES 

wardrobes  and  toilets  for  actors,  trunk  rooms,  etc.,  also  room 
for  the  orchestra  below  the  stage. 

In  picture  houses  where  there  is  no  regular  stage,  it  is 
better  to  make  a  false  stage  so  as  to  be  able  to  set  the  screen 
as  far  away  from  the  front  seats  as  possible,  otherwise  the 
first  few  rows  of  seats  are  of  little  value  as  the  picture  does 
not  show  up  well  at  a  close  range. 

DESIGN 

While  the  plan  and  layout  of  the  houses  are  often  faulty, 
the  exterior  designs  are  in  a  great  many  cases  beautiful,  so 
that  it  is  not  the  intention  of  the  author  to  treat  on  the  design 
for  either  the  exterior  or  interior,  as  these  features  may  well 
be  left  to  the  architect  in  charge,  only  suggesting  that  due 
thought  and  care  should  be  made  in  the  placing  of  lights  on 
the  exterior,  and  spaces  provided  for  the  advertising  of  the 
show. 

Managers  are  bound  to  make  a  lavish  display  of  posters 
and  will  invariably  cover  up  some  architectural  features 
unless  ample  provision  is  made  for  the  purpose. 

CONSTRUCTION 

It  is,  of  course,  obvious  that  a  theatre,  to  be  structurally 
safe,  should  be  built  entirely  of  fireproof  materials  and  all 
steel  beams,  girders  and  trusses  should  be  protected  with 
fireproof  materials.  All  external  and  internal  walls  should 
be  of  bricks  or  hollow  tile  or  other  approved  fireproof 
material.  Special  attention  should  be  paid  to  the  construc- 
tion work  of  the  stage  as  nearly  all  fires  have  their  origin 
there. 

There  are  various  types  of  fireproof  construction  on  the 
market  that  are  suitably  adapted  to  theatres. 


nG:2 


8  THEATRES  AND  PICTURE  HOUSES 

FIREPROOF  CONSTRUCTION 

All  architects  understand  the  meaning  of  the  term  fire- 
proof, while  the  average  layman  has  a  very  vague  idea  of 
its  meaning,  and  often  considers  cost  prohibitive,  but  from 
the  fact  that  lumber  is  getting  scarcer,  of  poorer  quality,  in 
shorter  length  and  more  costly  every  year,  and  as  the  various 
methods  of  reinforced  concrete  construction  are  getting 
better  and  cheaper  every  year,  the  difference  in  the  cost  is 
not  so  great  when  all  things  are  considered. 

The  walls,  both  exterior  and  interior,  of  a  large  theatre 
should  be  constructed  entirely  of  brick  or  concrete.  The 
interior  walls  may  be  built  of  hollow  tile,  and  minor  partitions 
of  metal  studs  and  lathed  with  metal  lath  and  plastered  with 
hard  plaster. 

Stairways  should  be  built  of  iron  or  concrete  and  enclosed 
where  possible  with  fireproof  walls.  Roofs  may  be  con- 
structed of  hollow  tile  or  concrete  slabs  and  covered  with 
fireproof  asbestos,  plastic  cement  or  waterproof  tiles  laid  in 
cement. 

The  floors  may  be  built  of  hollow  tile,  poured  concrete  or 
slab  construction. 

There  are  not  so  many  doors  and  windows  in  the  average 
theatre,  but  what  the  extra  cost  of  making  them  of  metal 
would  be  money  well  expended,  also  the  trim  around  same. 

The  windows,  particularly  if  exposed  to  inflammable  sur- 
rounding buildings,  should  have  metal  frames  and  sash, 
glazed  with  wire  glass.  These  are  better  than  swinging 
shutters.  Exposed  exterior  walls  may  also  be  protected  by 
a  perforated  sprinkler  system  that  will  allow  a  sheet  of  water 
to  form  down  on  the  face  of  the  wall.  (See  article  on 
"Sprinklers".) 


II.    ORPHEUS    THEATRE,    CHICAGO,    ILLINOIS 
Aroner  &   Somers,  Architects 


THEATRES  AND  PICTURE  HOUSES  9 

SIGHT  .LINES 

One  of  the  most  important  things  to  be  considered  in 
planning  a  theatre  is  the  sight  lines  or  radius  of  vision,  and 
it  is  even  more  important  in  a  picture  house  than  in  a  regular 
theatre,  for  the  reason  that  a  person  sitting  in  the  audience 
of  a  regular  theatre,  if  he  can  see  the  actor  between  the  heads 
of  the  people  in  front  of  him  as  he  moves  from  one  part  of 
the  stage  to  the  other,  and  can  hear  his  voice,  he  will  be  con- 
tented, whereas  in  a  picture  theatre  he  must  be  able  to  see  the 
entire  surface  of  the  screen  or  he  will  lose  the  full  benefit  of 
the  play  and  if  the  patrons  are  unable  to  get  a  full  view  of 
the  screen  they  will  make  complaint  to  the  management  and 
will  also  publish  the  fact  to  their  friends  of  this  defect,  and 
the  receipts  will  suffer  accordingly.  Therefore  much  thought 
should  be  given  by  the  architect  to  the  proper  laying  out  of 
the  sight  lines. 

The  vision  should  not  be  limited  to  the  area  of  the  screen 
only,  as  the  people  in  the  last  row  of  seats  should  be  able  to 
see  at  least  2  or  3  feet  above  the  top  of  the  screens  from 
underneath  the  balcony.  In  a  regular  theatre  a  person  sitting 
in  the  last  row  should  be  able  to  see  at  least  16  ft.  high  on  the 
curtain.  The  people  in  the  balcony,  while  they  may  have  an 
unlimited  vision  above  the  screen,  should  also  be  able  to  see 
the  tops  of  the  heads,  at  least,  of  the  orchestra.  Therefore, 
the  first  thing  to  do  after  determining  the  floor  plan  of  the 
house,  stage,  exits,  etc.,  will  be  to  establish  the  sight  lines.  The 
best  method  to  proceed  in  this  is  to  first  locate  the  position  of 
the  eye  on  the  sectional  drawing  of  the  person  sitting  in  the 
last  row  of  seats  and  then  draw  a  line  to  a  point  about  3  ft. 
above  the  top  of  the  screen;  this  line  establishes  the  lowest 
point  of  the  underside  of  the  balcony  (see  Figs.  3, 4,  5,  6  and  7). 


10  THEATRES  AND  PICTURE  HOUSES 

Due  consideration  should  be  made  for  persons  standing 
in  the  rear.  The  pitch  of  the  auditorium  floor  is  also  to  be 
taken  into  consideration,  and  the  height  of  the  stage  or 
the  bottom  of  the  screen,  as  this  will  regulate  the  position  of 
the  sight  lines.  The  bottom  of  the  screen  is  generally  set 
from  1  to  4  ft.  above  the  stage,  according  to  conditions. 

The  pitch  of  floors,  heights,  etc.,  will  be  described  under 
a  separate  heading. 

After  having  established  the  location  of  the  front  of  the 
balcony,  draw  a  line  from  a  point  about  4  ft.  below  the  stage 
on  the  curtain  line  through  the  top  of  the  first  riser  of  the 
balcony  to  the  rear  of  the  house  (in  a  theatre  the  rear  is  the 
front),  or,  in  other  words,  the  rear  of  the  people.  This  line 
determines  the  lowest  pitch  for  which  the  steppings  of  the 
balcony  may  be  made  and  represents  the  edge  of  the  nosings 
of  the  risers,  but  as  the  steps  go  towards  the  rear,  they  should 
be  slightly  increased  from  the  straight  line  and  should  be  on 
a  slight  rising  curve. 

Next  locate  the  eye  of  the  person  in  the  front  row  of  the 
balcony  and  the  person  sitting  in  the  last  row  and  draw  a  line 
through  these  two  points  to  the  apron  of  the  stage  and  see 
that  it  strikes  well  below  the  same.  The  eyes  of  a  person 
sitting  is  4  ft.  from  the  floor,  and  5  ft.  when  standing.  In 
picture  theatres,  the  starting  point  of  4  ft.  below  the  stage 
may  be  modified  somewhat,  depending  on  conditions. 

Now,  if  entirely  satisfactory  results  have  not  been 
obtained,  raise  or  lower  the  pitch  of  the  main  floor  and  the 
stage,  and  lay  out  the  sight  lines  again  and  in  the  same  man- 
ner, and  it  will  be  found  that  a  slight  change  in  the  main  floor 
will  make  considerable  change  in  the  balcony,  as  to  its  height 
in  the  rear. 


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12  THEATRES  AND  PICTURE  HOUSES 

It  is  better  to  work  out  these  lines  in  two  or  three  (lif- 
erent ways  before  determining  the  exact  position  of  the 
balcony,  and  having  done  so  you  will  have  almost  perfect 
conditions  as  far  as  sighting  is  concerned. 

Do  not  make  the  balcony  so  high  that  it  will  require  too 
many  steps  to  ascend,  as  this  is  a  detriment.  The  arrange- 
ment of  balcony  stairs  will  be  described  under  another 
heading. 

The  steppings  of  the  balcony  should  be  not  less  than  2  ft. 
5  in.  wide,  allowing  a  few  inches  extra  for  the  first  and  last 
rows. 

The  risers  may  start  with  a  4  in.  riser  and  be  increased 
toward  the  rear,  but  in  no  case  should  the  last  riser  exceed 
18  in.,  and  it  is  very  seldom  necessary  to  go  as  high  as  that 
except  in  a  second  balcony  or  gallery,  which  may  be  21  in. 
(See  table  of  "Comparative  Laws  of  Various  Cities.")  Gal- 
leries are  not  in  such  demand  now  as  they  used  to  be,  espe- 
cially in  low  priced  houses,  because  the  extra  cost  of  the 
construction  of  the  gallery,  the  extra  height  required  for 
the  walls,  and  the  extra  heating  required  makes  it  imprac- 
ticable from  a  financial  standpoint,  except  in  special  cases 
where  the  land  area  is  limited  or  where  a  large  seating 
capacity  is  required. 

Extra  steps  are  required  in  the  aisles  of  the  balcony  where 
the  risers  are  over  10  in.  high. 

In  a  wide  house  it  is  necessary  to  lay  out  sight  lines  on 
the  side  of  the  balcony  as  well  as  in  the  center.  This  will 
bring  the  front  rail  of  the  balcony  on  a  downward  curve 
towards  the  sides. 

The  location  of  the  projection  rooms  or  machine  booth  is 
important  and  will  have  some  effect  on  the  height  of  the 


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THEATRES  AND  PICTURE  HOUSES  15 

balcony,  as  will  be  described  under  heading  of  "Projection 
Lines." 

As  no  two  theatres  are  alike,  the  sight  lines  must  be 
worked  out  to  fit  the  individual  case  and  not  follow  any  set 
dimensions  of  any  other  house.  The  operation  is  compara- 
tively simple  and  not  as  difficult  as  it  appears. 


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THEATRES  AND  PICTURE  HOUSES  17 

PITCH  OF  FLOORS 

The  location  of  the  main  floor  in  a  theatre  depends  some- 
what on  local  conditions.  For  instance,  if  the  grade  of  the 
ground  is  much  lower  in  the  rear  or  stage  end,  it  gives  ample 
opportunity  for  a  good  slope  to  the  floor  without  throwing 
the  rear  exits  below  ground,  in  which  case  the  main  entrance 
lobby  may  be  level  or  even  pitch  slightly  downward  if 
necessary.  (See  Figs.  4  and  5.)  If,  on  the  other  hand,  the 
ground  is  higher  at  the  stage  end,  it  is  often  necessary  to 
grade  the  entrance  lobby  up  considerably  so  as  to  bring  the 
rear  exits  out  above  grade.     (See  Figs.  7  and  8.) 

A  good  slope  to  the  parquet  floor  is  desirable,  as  it  gives 
a  better  view  of  the  stage  and  helps  in  working  out  the  sight 
lines.  No  steps  should  be  placed  in  the  aisles  on  the  lower 
floor.  While  it  is  desirable  to  have  a  good  pitch  to  the  lower 
floor,  this  pitch  does  not  have  to  be  continued  to  the  stage 
but  about  two-thirds  of  the  wav  and  the  rest  mav  be  level, 
because  the  people  in  the  first  ten  or  twelve  rows  are  looking 
up  while  the  people  in  the  rear  are  looking  over  their  heads. 
The  floor  in  the  extreme  rear  may  be  raised  above  the  aisles. 
This  also  helps  to  keep  the  side  and  rear  exits  out  of  the 
ground.  (See  Figs.  4,  5  and  8.)  Exits  below  grade  are  bad. 
The  laws  in  some  states  limit  the  pitch  of  floors  to  1  in.  to 
the  foot.     In  many  cases  this  is  not  enough  for  good  results. 


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THEATRES  AND  PICTURE  HOUSES  19 

BALCONY 

The  balcony  in  a  theatre  should  be  easy  of  access,  and 
without  having  to  ascend  too  many  steps.  Balconies  are 
planned  in  a  great  variety  of  ways.  A  curved  front  in  a 
wide  house  or  a  straight  front  in  a  narrow  house.  It  may 
also  be  divided  into  two  sections,  about  midway  between 
front  and  rear  with  an  aisle  or  passage  running  crossways, 
and  the  stairs  should  land  on  the  passage. 

It  is  not  a  good  plan  to  have  the  stairs  land  at  the  highest 
point  of  the  balcon^^  as  it  makes  a  longer  climb  and  the 
people  do  not  like  to  cHmb  to  the  top  and  then  walk  down 
again,  but  if  the  stairs  land  near  the  center  or  below  the 
center,  then  the  people  may  pass  to  the  front  and  rear  from 
the  cross  aisle.  (See  Figs.  5,  7,  8  and  10.)  A  good  scheme 
is  shown  in  Fig.  3,  wherein  tunnels  are  used  at  two  different 
levels. 

It  is  better  to  avoid  the  use  of  posts  to  support  the  balcony 
by  using  trusses  or  heavy  girders  from  wall  to  wall,  although 
it  adds  considerably  to  the  cost  of  construction  on  account  of 
the  span  requiring  heavy  steel  girders,  but  the  owner  and 
patrons  would  appreciate  the  benefit  derived  by  not  having 
posts  to  obstruct  the  view.  Balconies  may  overhang  about 
one-third  their  depth  if  necessary,  but  must  be  well  anchored 
to  the  rear  walls  to  prevent  any  overbalancing.  The  balcony 
rail  should  be  trussed  so  as  to  give  additional  stiffness  to 
the  overhang. 

Loggias  are  a  good  feature,  both  for  convenience  and 
decorative  features. 

In  Pennsylvania  no  balconies  are  allowed  in  picture 
theatres. 


20  THEATRES  AND  PICTURE  HOUSES 

PROJECTION  LINES 

The  line  of  the  axis  of  light  should  not  be  more  than  20 
degrees  off  the  center  to  give  good  results.  (See  Figs.  3,  7 
and  8.)  Any  greater  angle  will  give  a  contorted  picture, 
unless  the  screen  is  tilted  so  as  to  reduce  this  angle,  but  a 
tilted  screen  is  not  desirable  as  it  gives  an  unpleasant  effect 
to  the  stage  and  proscenium  arch,  and  while  the  picture  itself 
may  be  in  true  focus  at  all  parts  of  the  screen,  and  will  give 
a  perfect  picture  from  the  balcony,  it  will  appear  distorted  to 
the  spectators  in  the  front  rows  of  the  lower  floor  on  account 
of  the  variation  in  distance  between  the  top  and  the  bottom 
of  the  picture  and  the  eye. 

The  position  of  the  projection  machine  and  its  relation 
to  the  screen  is  important.  The  best  results  are  obtained 
when  the  center  line  of  the  lens  is  opposite  the  center  line  of 
the  screen  or  nearly  so,  and  the  center  of  the  beam  of  light 
is  at  right  angles  to  the  screen.  If  the  light  strikes  the 
screen  at  any  angle  other  than  a  right  angle,  the  picture  will 
be  contorted,  and  the  greater  the  angle  the  greater  the  con- 
tortion. Thus,  if  the  machine  is  set,  say  20  ft.  above  the 
center  of  the  screen,  the  result  will  be  a  wide  picture  at  the 
bottom  and  narrow  at  the  top  and  only  a  part  of  the  picture 
will  be  in  a  true  focus.  If  the  machine  is  greatly  to  one  side 
of  the  center  of  the  screen,  the  picture  will  be  wide  on  one 
side  and  narrow  on  the  other. 

If  the  picture  is  shown  on  a  movable  curtain  at  front  of 
stage  part  of  the  time,  and  on  a  fixed  screen  at  the  rear  of 
the  stage  at  another  time,  it  will  require  an  additional  set  of 
lenses  on  account  of  the  difference  in  "length  of  throw." 

Do  not  locate  the  booth  nearer  than  35  ft.  from  the  screen, 
as  the  result  will  be  cloudy.     (See  "Table  of  Distances.") 


THEATRES  AND  PICTURE  HOUSES  21 

BOXES  AND  LOGGIAS 

Boxes  are  not  always  a  success  in  the  way  of  vision 
because  one  can  only  get  a  view  of  one  side  of  the  stage 
from  the  boxes. 

They  are  used  more  as  a  decorative  feature  to  fill  up  a 
waste  corner  that  is  good  for  no  other  purpose.  For  deco- 
rative purposes  they  offer  great  opportunities. 

Boxes  or  stalls  arranged  along  the  side,  however,  as 
shown  in  Fig.  17,  are  useful  as  far  as  vision  is  concerned, 
and  the  corner  space  can  then  be  used  for  dressing  rooms 
or  other  purposes,  if  separated  by  a  fireproof  wall  from  the 
auditorium. 

These  stalls  should  be  somewhat  elevated  from  the  main 
floor. 

Loggias  in  the  front  of  the  balcony  add  much  to  the 
attractiveness  of  the  balcony  plan  as  well  as  to  the  deco- 
rative treatment  from  below,  and  on  account  of  their 
exclusiveness,  have  the  advantage  of  bringing  better  prices 
for  the  seats,  as  they  are,  in  fact,  the  best  seats  in  the  house. 

STAIRS 

Considerable  care  should  be  exercised  in  the  planning 
and  location  of  stairways  so  as  to  give  a  safe  and  quick 
means  of  egress  in  case  of  panic. 

Stairways  incased  with  fireproof  walls  are  most  desir- 
able. Entrance  to  the  balcony  may  lead  from  the  main  floor 
in  lobby,  but  should  also  lead  direct  to  the  street. 

No  stairway  should  be  less  than  4  ft.  wide,  where  the 
balcony  serves  fifty  people,  and  the  width  increased  6  in.  for 
every  additional  fifty  people. 


THEATRES  AND  PICTURE  HOUSES  23 

No  winding  stairways  should  be  allowed. 

The  risers  should  not  exceed  7%  in.  and  the  treads  never 
less  than  9%  in.  run.  Provide  hand  rails  on  both  sides  of 
all  stairs. 

Stairways  over  6  ft.  in  width  should  have  a  hand  rail  in 
the  center  as  well  as  the  sides,  and  strongly  supported  and 
secured  to  the  treads  or  risers.  Long  stairways  should  be 
broken  with  one  or  more  landings,  at  least  4  ft.  wide. 

Eighteen  steps  is  about  the  limit  without  a  landing.  No 
matter  how  small  the  theatre,  allow  at  least  two  separate 
stairways  from  the  balcony,  leading  to  the  outside,  and  one 
fire  escape. 

The  stairs  from  the  second  balcony  should  be  separate 
from  the  first  balcony  so  as  to  avoid  jams,  and  no  stairways 
should  communicate  with  the  people  from  the  main  floor. 
The  more  the  streams  of  people  can  be  kept  apart,  the  more 
quickly  the  house  may  be  emptied  and  the  less  danger  in  case 
of  panic.  Single  steps  must  be  avoided  in  all  cases.  Angles 
on  landings  should  be  rounded. 

FIRE  ESCAPES 

There  should  be  at  least  one  fire  escape  from  each  balcony, 
not  less  than  4  ft.  wide  and  increased  in  width  in  proportion 
to  the  seating  capacity  of  balcony.  The  fire  escape  should 
not  be  allowed  to  obstruct  any  passage  unless  there  is  ample 
width  outside  of  same.  All  outside  fire  escapes  should  be 
covered  as  a  protection  against  snow  and  ice.  Fire  escapes 
to  be  efficient  must,  of  course,  be  regular  stairways  of  iron 
or  other  fireproof  construction,  and  not  ladders  that  cannot 
be  used  by  ladies  and  children. 


24  THEATRES  AND  PICTURE  HOUSES 

EXITS 

There  should  be  plenty  of  exits  of  proper  width  and 
location,  with  doors  to  swing  outward  in  such  a  way  as  not 
to  block  the  passage  or  alleyways. 

No  exit  door  should  be  locked  during  any  performance, 
but  should  be  provided  with  panic  bolts.  These  lock  the 
doors  from  the  outside  but  can  always  be  opened  from  the 
inside. 

The  balcony  and  gallery  should  be  especially  provided 
with  exits,  as  the  people  occupying  them  are  more  endangered 
from  fire  or  panic  than  those  occupying  any  other  part  of 
the  house. 

The  exits  on  the  main  floor  should  be  arranged  so  as  to 
best  serve  the  people. 

In  case  of  panic,  people  would  naturally  look  to  the  main 
entrance  or  the  way  in  which  they  came  in  first,  and  then  to 
the  exits  afterward,  therefore  the  main  entrances  should  be 
as  large  as  is  consistent  with  the  conditions. 

Besides  the  main  entrance,  there  should  be  at  least  one 
exit  on  the  stage  end  of  the  house  either  at  the  back  or  on 
the  side.  When  the  seating  capacity  of  the  main  floor 
exceeds  500  people,  there  should  be  one  additional  exit  for 
each  500.  No  exit  doorway  should  be  less  than  5  ft.  wide. 
No  exit  should  lead  to  any  enclosed  space,  or  through  any 
other  building.  Municipal  laws  of  most  of  the  principal 
cities  regulate  the  number  of  exits. 

No  blind  aisle  or  architectural  feature  that  looks  like  an 
exit  or  doorway  should  be  permitted,  nor  should  any  mirrors 
be  placed  so  as  to  appear  to  be  an  opening  where  there  is  no 
such  opening. 


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III.     NEW   ORPHEUM   THEATRE,   KANSAS   CITY,   MISSOURI 

G.    Albert    Lansburs'h,    Architect 


THEATRES  AND  PICTURE  HOUSES  25 

AISLES 

Provide  as  many  aisles  as  is  consistent  with  the  width  of 
the  house.  It  is  preferable  to  have  two  center  aisles  and  one 
aisle  on  each  side  next  to  the  wall.  One  aisle  in  the  center 
of  the  house  is  not  desirable  as  it  causes  the  loss  of  the  best 
seats  in  the  house,  and  furthermore  the  actors  prefer  to  look 
into  the  faces  of  a  solid  body  of  people  rather  than  face  down 
the  aisle. 

Do  not  place  seats  next  to  the  wall,  as  it  interferes  with 
the  side  exits  unless  cross  aisles  are  provided,  and  that  is  a 
bad  feature,  especially  in  picture  houses,  as  people  are  con- 
V   stantly  passing  in  front  of  those  sitting. 

The  minimum  width  of  any  aisle  with  seats  on  both  sides 
should  be  3  ft.  and  widen  toward  the  rear,  II/2"  to  every  5  ft. 
in  length,  as  it  has  to  serve  more  people  in  exit.  Aisles  with 
seats  on  one  side  only  may  be  2-4  at  the  starting  point.  It 
is  better  to  make  the  main  aisles  straight  from  one  end  to 
the  other,  so  that  the  seats  may  be  regular  and  all  on  one 
width.  It  also  gives  additional  seats  in  the  central  bank, 
which  is  most  in  demand.     (See  Fig.  1  dotted  lines.) 

There  should  be  no  steps  in  aisle  or  passageways  on  the 
main  floor.  All  seats  must  be  securelv  fastened  to  the  floor. 
Do  not  allow  movable  chairs  in  any  aisle  or  passage  that 
will  obstruct  same  in  making  a  hasty  exit. 

Standing  room  is  always  desirable  in  any  theatre  from  the 
manager's  point  of  view.  Aisles  or  passageways  must  not  be 
obstructed  by  radiators  unless  over  head.  They  may  be 
recessed  into  the  walls. 


26  THEATRES  AND  PICTURE  HOUSES 

SEATING 

The  old  method  of  horseshoe  curves  in  laying  out  seats 
has  practically  gone  out  of  style.  The  seats  in  most  of  the 
modern  houses  are  arranged  in  long  curves  and  in  many 
cases  almost  straight.  In  narrow  houses  the  rows  should 
be  straight. 

There  should  not  be  more  than  thirteen  seats  between 
two  aisles,  so  that  there  will  not  be  more  than  six  seats  to 
pass  to  get  to  either  aisle. 

The  widths  of  opera  chairs  vary  from  18"  to  22''  and, 
while  they  are  made  even  narrower,  they  are  not  recom- 
mended, as  an  18''  seat  is  narrow  enough.  Only  in  a  few 
cases  do  they  exceed  22".  All  widths  are  used  on  center  to 
center  measurements.  The  character  of  the  house  deter- 
mines the  width  of  seats. 

The  spacing  of  seats  from  back  to  back  varies  from  28"  to 
32".  Where  heavy  upholstered  seats  are  used  the  spacing  must 
be  at  least  32"  on  account  of  the  fact  that  the  chairs  them- 
selves take  up  about  2"  additional  space.  But  for  veneered 
chairs  29"  or  30"  is  considered  good,  while  28"  is  all  right  for 
cheaper  class  picture  houses. 

Allow  two  inches  more  for  spacing  in  balconies  where  the 
risers  are  high,  as  the  back  of  the  chair  will  hit  knees  of  the 
persons  in  the  next  row. 

Always  purchase  seats  with  a  foot  rest,  especially  if  there 
is  an  incline  to  the  floor. 

This  does  not  apply  to  balcony  seats. 

A  house  with  comfortable  seating  is  talked  about  by  the 
patrons  on  the  outside,  and  the  house  gets  a  good  advertise- 
ment in  this  way. 


THEATRES  AND  PICTURE  HOUSES  27 

No  matter  how  nice  the  decorations  and  other  features 
may  be,  if  the  seats  are  so  close  together  that  the  knees  touch 
the  backs  of  the  seats  in  front,  and  the  seats  are  so  narrow 
that  a  broad  gage  man  has  to  squeeze  in,  it  is  detrimental  to 
the  house,  therefore  do  not  try  to  gain  too  many  extra  seats 
at  the  sacrifice  of  comfort.    (See  table  of  comparative  laws.) 

An  electric  signal  system  has  been  invented  for  use  in  dark 
houses  so  that  a  patron  may  locate  vacant  seats  by  signal 
lights  on  the  back  of  the  seats.  These  are  all  connected  to 
an  indicator  in  the  box  office,  so  that  it  may  be  seen  at  a 
glance  which  seats  are  occupied  and  which  are  not. 


28 


THEATRES  AND  PICTURE  HOUSES 


SEATING  CAPACITY  OF  VARIOUS  HOUSES 


Name  of  Theatre 


Orches- 
tra 


Academj'  of  Music,  Philadelphia. 
Academj'  of  Mvisic,  Baltimore.  .  . 
Academy  of  Music,  Chicaj^o.  .  .  . 

Alhambra,  Milwaukee 

American,  N.  Y.  City 

Amphion,  Brookh'n,  N.  Y 

Auditorium,  Chicago 

Auditorium,  Philadelphia 

Auditorium,  Minneapolis 

Baker,  Rochester,  N.  Y 

Broadway,  N.  Y.  City 

Boston,  Boston,  Mass 

Broad  St.,  Philadelphia,  Pa 

Broadway,  Denver,  Col 

Casino,  N.  Y.  City 

Century,  St.  Louis 

Colonial,  N.  Y.  City 

Colonial,  Boston,  Mass 

Columbia,  Washington,  D.  C.  .  . 

Coliseum,  St.  Louis 

Empire,  N.  Y.  City 

Garrick,  N.  Y.  City 

Grand  Opera  House,  Boston .  .  .  .  , 

Keith's,  Boston,  Mass 

Illinois,  Chicago,  111 

Madison  Square  Garden,  N.  Y   ..  . 

Majestic,  N.  Y.  Citv 

Manhattan,  N.  Y.  City 

New  Amsterdam,  N.  Y.  Citv 

Proctor's,  23rd  St.,  N.  Y.  City .  .  . 
Proctor's,  58th  St.,  N.  Y.  City .  .  . 
Proctor's,  r25th  St.,  N.  Y.  City .  . 

Pabst,  Milwaukee,  Wis 

Power's,  Chicago,  111 

Park,  Indianapolis,  Ind 

Orpheum,  New  Orleans,  La 

Shubert's,  N.  Y.  City 

Shubert's,  Boston,  Mass 

Shubert's,  Minneapolis,  Minn.  .  . 

Shubert's,  St.  Louis,  Mo 

Shubert's,  Kansas  City,  Mo 


7.50 

7S0 
740 
655 

1672 

650 


631 
456 
560 
600 
750 
650 
600 


344 

586 
592 
384 


Boxes 

and 
Loggias 


Balcony 


Gallerv 


165 

74 

78 

100 

130 
70 
60 


464 

750 
609 
419 

504 

350 


398 
502 
500 
565 
450 
552 
350 


248 

380 
460 

272 


586 

50 

618 

601 

50 

646 

60 

650 

32 

400 
473 
379 
467 
423 


600 

800 
800 
568 

900 

700 


600 
536 
300 
433 
555 
36S 
500 


218 

338 
652 
252 


361 
401 
451 
456 
411 


Total 


3100 
1710 
2450 
2495 
2400 
1716 
4200 
3044 
7000 
1800 
1700 
3172 
1629 
1624 
1360 
1600 
1750 
1653 
1350 

12000 
1100 
910 
2600 
2700 
1304 

12137 
1704 
1100 

1551 
4400 
3450 
2092 
1318 
2275 
2800 
1395 
1492 
1533 
1681 
1603 


THEATRES  AND  PICTURE  HOUSES  29 

PROSCENIUM  ARCH. 

The  proscenium  arch  is  the  opening  between  the  stage 
and  the  auditorium. 

It  varies  in  width  according  to  the  width  of  the  house, 
and  the  height  varies  in  proportion  to  its  width.    (See  table.) 

The  older  houses  have  high  arches;  the  modern  houses 
have  low  arches. 

The  arch  is  generally  elaborately  moulded  and  decorated, 
as  this  affords  one  place  where  the  designer  may  spread 
himself. 

It  is  often  studded  with  electric  lights. 

The  general  angle  of  the  proscenium  arch  is  45  degrees, 
but  it  may  be  carried  back  on  the  wall  as  far  as  desired  and 
squared  back  on  the  stage  a  few  feet  and  widened  out  over 
head  as  much  as  the  designer  desires.  The  wider  the  open- 
ing, the  greater  the  distance  required  between  side  walls  of 
the  stage.  It  also  requires  a  deeper  stage.  40  ft.  is  considered 
a  good  width  for  the  opening. 

There  is  no  fixed  proportion  of  height  of  proscenium  arch 
to  its  width ;  it  may  vary  with  the  style  of  architectural  treat- 
ment. If  the  opening  is  square  or  the  height  equal  to  the 
width,  there  is  generally  a  permanent  drapery  hung  outside 
of  the  curtain  that  reduces  the  height  to  a  proper  proportion. 
The  proportionate  widths  and  heights  for  the  proscenium 
arch  as  recommended  by  the  author  are  as  follows: 

In  a  40  ft.  house  inako  tlic  aicli  al)«)iil   J}  ft.  wiilc  liy   IS  ft.  Iiifili. 

"     .50 "         "  "  LN  "       '•        ••      ■22  " 

'<     (50 "         «  "  "       u         «       •>•) «.  ..     .)v.  .. 

"        ~Q  "  "  «  «  «  u  Qu  a  a  .1        ■}.■)  u 

«       80  "  "  "  "  "  "  44  "  "  "        'l(\  " 

"     90 "       "        "        "       "        "      4S "      "       "     10 " 
These  dimensions  may  be  varied  to  suit  the  design. 


30  THEATRES  AND  PICTURE  HOUSES 

The  sounding  board  which  surmounts  the  proscenium 
arch  is  often  elaborately  embellished  and  painted  with 
appropriate  scenes  and  figures. 

The  primary  object  of  the  sounding  board  is,  first,  to 
reflect  or  transmit  the  voice ;  second,  to  save  excessive  space 
aloft  to  be  heated. 

PROSCENIUM  CURTAIN 

All  theatres  where  scenery  is  used  on  the  stage  should 
be  provided  with  a  fireproof  curtain  just  inside  of  the  pro- 
scenium wall,  separating  the  auditorium  from  the  stage. 
Asbestos  and  steel  curtains  are  the  most  common  in  use. 

STEEL  CURTAIN 

Steel  fire  curtains  are  sometimes  used  in  the  larger 
theatres  to  cover  the  proscenium  opening.  These  are  con- 
structed of  sheet  steel  plates  re-enforced  with  angle  iron 
frames  and  overlap  the  sides  of  the  opening  about  li/4  ft.  on 
each  side,  running  in  channels  or  smoke  grooves,  and  are 
suspended  and  operated  similar  to  the  asbestos  curtains. 
These  steel  curtains  have  to  be  operated  by  special  machinery 
on  account  of  their  height.  They  are  much  more  expensive 
than  the  asbestos  curtain. 


THEATRES  AND  PICTURE  HOUSES  31 

ASBESTOS  CURTAIN 

Asbestos  curtains  should  be  made  of  asbestos  cloth,  with 
or  without  brass  wire  reinforcement,  and  should  weigh  not 
less  than  two  pounds  to  the  square  yard.  If  possible  the 
curtain  should  be  so  arranged  that  it  may  be  raised  straight 
up,  or  wall  fashion,  rather  than  to  fold  or  roll.  A  curtain 
which  goes  up  straight  should  be  fitted  with  pockets  at  the 
top  and  bottom  to  take  not  less  that  21/2"  iron  pipe  battens 
and  there  should  be  rings  or  snap  hooks  at  the  sides  for 
attachment  to  guide  wires. 

The  curtain  should  overlap  the  proscenium  opening  at  the 
sides  and  top  not  less  than  18"  and  iron  smoke  grooves  should 
be  installed  on  each  side  of  the  proscenium  opening  securely 
fastened  to  the  walls.  These  smoke  grooves  should  extend 
right  up  to  the  gridiron.  The  seams  in  an  asbestos  cloth 
curtain  should  run  perpendicularly  and  all  sewing  done  with 
pure  asbestos  sewing  twine.  Curtains  are  suspended  by 
means  of  iron  cables  which  run  over  sheaves  on  brackets 
securely  bolted  to  the  proscenium  wall,  the  cables  then  turn- 
ing over  a  head  block  and  being  fastened  to  counterweights 
sliding  in  a  track  which  will  balance  the  curtain  so  that  it 
may  be  raised  or  lowered  by  means  of  the  manila  rope  hand 
line  from  either  side  of  the  stage  or  from  the  fly  galleries. 
The  curtain  should  outweigh  the  counterweights  just  enough 
to  insure  the  automatic  dropping  of  the  curtain  at  the  proper 
speed  in  the  event  of  the  hand  line  being  cut  in  case  of 
emergency.  Good  curtains  are  made  by  manufacturers  that 
cover  the  laws  of  any  state  and  they  will  set  them  up  com- 
plete and  in  good  working  order. 


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34  THEATRES  AND  PICTURE  HOUSES 

THE  STAGE  PROPER 

In  thinking  of  your  proposed  new  theatre,  your  mind  must 
often  revert  to  the  really  important  part,  the  stage  proper. 
In  reality  the  audience  sees  but  a  small  portion  of  a  theatre. 
What  goes  on  in  the  vast  space  above,  beneath,  behind  and 
on  either  side  of  the  stage?  Are  not  the  unseen  regions  of  a 
theatre  more  interesting  and  important  than  those  that  are 
seen  by  the  audience  ?  What  a  degree  of  curiosity  is  aroused 
in  the  theatre  lover  when  the  stage  is  mentioned — that  mys- 
terious region  to  which  access  is  denied  to  the  unitiated,  who 
would  most  willingly  pay  double  price  to  penetrate  the  inner- 
most recesses  of  an  opera  house  of  the  first  rank — an  estab- 
lishment, a  tour  of  discovery  behind  whose  scenes  reveals  all 
the  resources  of  the  modern  stage;  inasmuch  as  one  finds 
there  not  only  everything  pertaining  to  a  theatre,  but  also  the 
numerous  and  varied  contrivances  which  have  been  devised 
for  the  presentation  of  the  modern  production.  Today  much 
of  this  material  is  carried  by  the  touring  company,  but  a 
special  line  of  mechanical  contrivances  needed  for  the  proper 
putting  on  of  these  productions  must  be  found  in  the  local 
playhouse,  or  the  best  effects  must  be  cut  out,  to  the  disap- 
pointment of  the  usual  auditor  and  the  displeasure  of  the 
more  enlightened  neighbor  who  may  have  seen  the  original 
production  and  who  immediately  proceeds  to  tell  how  much 
better  the  show  was  in  New  York. 

Younger  ingenuity  has  grafted  many  improvements  on 
European  designs  so  that  our  opera  houses  of  later  years  can 
show  in  stagecraft  many  improvements  upon  old  established 
foreign  theatrical  construction. 


THEATRES  AND  PICTURE  HOUSES  35 

The  regions  in  which  the  labor  of  putting  on  a  modern 
scenic  production  is  performed  as  a  veritable  beehive  of 
activity.  They  embrace,  besides  the  stage  proper,  the  rooms 
or  the  heads  of  the  various  departments,  viz.,  stage  carpen- 
ter, scenic  artist,  stage  manager,  musical  director,  property 
master,  costumer  and  electrician. 

The  stage,  properly  speaking,  is  that  portion  of  a  theatre 
which  can  be  seen  from  the  auditorium  and  the  space  on 
either  side  behind  the  proscenium  arch,  upon  which  the  per- 
formers stand  and  upon  which  is  placed  framed  scenery  and 
"set  stuff."  The  stage  is  usually  divided  width-wise  into 
three  parts.  The  side  from  which  the  curtains  are  worked 
and  on  which  should  be  located  the  switchboard  is  called  the 
prompt-side.  The  stage  manager  stands  here,  so  as  to  be  in 
easy  and  direct  communication  with  the  curtain  man  and 
electrician.  Midway  across  the  stage  is  the  point  designated 
as  the  "center  of  the  stage,"  usually  monopolized  by  the  star 
and  at  which  the  novice  looks  with  longing  and  only  too  often 
envious  eyes.  Then  there  is  the  opposite  prompt-side  or,  as 
it  is  always  called  in  theatrical  parlance,  the  "0-P  side."  The 
depth  of  the  stage  is  divided  figuratively  into  "entrances,"  as, 
since  flats  running  in  the  grooves  have  been  discarded,  there 
is,  strictly  speaking,  but  one  pair  of  entrances,  known  as  the 
"first  prompt  entrance,"  between  the  proscenium  wall  and 
the  tormentor  wing,  and,  corresponding  with  it  on  the  oppo- 
site side,  the  "0-P  first  entrance."  The  first  wings  are  known 
as  tormentors,  as  they  are  usually  built  with  a  flipper,  so  as 
to  hide  the  view  "off  stage"  of  those  sitting  in  the  boxes  and 
front  rows. 

All  these  divisions  and  their  appellations  hold  good  not 
only  of  width  and  depth,  but  also  of  height.    For  instance, 


36  THEATRES  AND  PICTURE  HOUSES 

the  0-P  extends  from  the  stage  to  the  gridiron  far  above,  a 
height  from  the  floor  of  the  stage  of  seventy  feet  or  more, 
on  which  are  attached  the  sheave  blocks  for  running  the  hnes 
that  raise  and  lower  the  drops  and  borders,  as  described  later. 

Everything  above  the  proscenium  arch  is  summed  up  in 
the  term  "flies,"  a  word  more  frequently  misused  than  any 
other  theatrical  term,  and  wrongly  defined  even  in  the  prin- 
cipal dictionaries  of  the  English  language.  The  uninitiated 
almost  invariably  use  this  term  in  speaking  of  the  strips  of 
canvas  painted  to  resemble  sky,  foliage,  arches  or  the  ceilings 
of  interiors,  suspended  across  the  stage  above  the  wings. 

These  are  the  borders,  and  form  but  a  small  portion  of 
the  flies,  which  include  the  border  lights  (rows  of  electric 
incandescent  bulbs  running  across  the  flies  and  illuminating 
the  borders),  innumerable  ropes,  cleats,  pulleys,  the  beams  to 
which  they  are  attached,  and  the  fly  galleries  on  either  side, 
from  the  lowest  of  which  the  drop  scenes  and  borders  are 
worked.  These  galleries  vary  in  number  according  to  the 
size  of  the  house.  Then,  from  the  "prompt"  side  across  to 
the  0-P  side  stretch,  a  story  higher,  the  beams  already 
referred  to.  These  in  the  aggregate  have  two  names,  accord- 
ing to  the  position  of  the  person  speaking  of  them.  Looking 
upward  from  the  floor  of  the  stage  he  would  call  them  the 
gridiron;  standing  on  them  he  would  speak  of  them  as  the 
rigging  loft.  The  drops  in  large  houses  are  about  forty  feet 
high,  and  as  they  are  raised  and  not  rolled  up,  the  space  from 
the  top  of  the  borders  on  a  line  with  the  first  fly  gallery  to 
the  gridiron  is  about  eighty  feet  high,  giving  room  for  the 
drop,  the  prompt,  center  and  0-P  rope. 

While  the  floor  of  the  stage  runs  from  the  footlights  to 
the  rear  wall  of  the  building,  the  entire  depth  is  rarely 


THEATRES  AND  PICTURE  HOUSES  37 

utilized,  because  a  section  extending  about  eight  feet  forward 
from  the  rear  wall  is  reserved  for  the  paintroom.  The  floor 
of  the  paintroom  is  a  platform  call  the  paint  bridge,  which 
extends  across  the  stage  and  can  be  raised  and  lowered 
between  the  floor  of  the  stage  and  the  first  fly  galleries.  The 
canvas  to  be  painted  having  been  hung  in  position  so  that  its 
top  is  level  with  this  gallery,  the  work  of  painting  begins,  the 
bridge  being  lowered  as  occasion  requires.  Frequently,  how- 
ever, the  canvas  is  hung  on  a  frame  working  from  pulleys  from 
one  of  the  gridiron  beams  and  gradually  lowered,  the  bridge 
remaining  suspended  between  the  prompt  side  of  the  first 
fly  gallery  and  the  0-P  side,  thus  forming  a  convenient  cross- 
ing from  one  side  of  the  house  to  the  other  for  those  at  work 
in  the  upper  stories,  who  would  otherwise  have  to  descend  to 
the  stage  floor,  cross  it,  and  ascend  several  flights  of  stairs 
on  the  other  side. 

At  the  production  of  the  play,  the  audience,  comfortably 
seated,  watches  the  performance  unfold  itself  so  smoothly 
that  it  suggests  no  idea  of  preliminary  labor.  This  is  as  it 
should  be.  For,  as  an  actor  must  cause  the  result  of  his  art  to 
seem  nature  itself,  so  the  theatrical  manager  must  cause  the 
action  and  its  scenic  surroundings  to  appear  the  spontaneous 
product  of  the  time  in  which  drama  or  opera  plays.  We  are 
apt  to  credit  only  the  actor  with  the  genius  of  simulating 
nature.  As  a  matter  of  fact,  the  principle  upon  which  he  pro- 
ceeds governs  every  detail  of  a  theatrical  production.  What 
the  actor  strives  for,  the  manager,  stage  manager,  scene 
painter,  property  master,  master  machinist,  musical  con- 
ductor, chorus  and  principal  singers  are  striving  for,  and 
each  in  his  respective  department  is  endeavoring  to  simulate 
nature.     I  emphasize  simulate  because  the  simulation   of 


38  THEATRES  AND  PICTURE  HOUSES 

nature,  as  distinguished  from  the  actual  reproduction  of 
nature,  is  the  peculiar  province  of  stage  art.  It  is  a  fact  that 
a  real  tree  upon  the  stage  looks  less  like  a  real  tree  from  the 
auditorium  than  a  tree  painted  upon  a  piece  of  canvas;  and 
that  with  a  bit  of  canvas  and  a  little  paint  the  scene  painter 
can,  at  the  expense  of  a  few  dollars,  produce  a  Persian  rug 
looking  costlier  and  more  like  the  real  article  than  would  an 
actual  Persian  rug  costing  a  thousand  dollars.  What  in  real 
life  would  be  an  exaggeration  becomes  on  the  stage  perfect 
simulation  of  nature;  the  actor's  natural  bloom  would  be 
ghostly  pallor  in  the  glare  of  the  footlights,  so  that  he  is 
obliged  to  rouge  his  cheeks  in  order  that  their  color  may  look 
natural.  And  as  in  this  case  the  look  of  nature  is  produced 
by  exaggeration,  so  it  is  with  everything  pertaining  to  stage 
art,  voice,  gesture,  costume,  scenery,  "properties,"  light 
effect.  They  must  all,  so  to  speak,  be  rouged.  A  stage  pro- 
duction, to  be  successful,  must  be  prepared  with  this  principle 
always  in  view.  It  can  easily  be  traced  through  the  work 
going  on  behind  the  scenes  of  an  opera  house. 

The  stage  in  a  regular  playhouse  built  for  the  production 
of  opera,  drama  or  vaudeville  has  many  special  requirements. 

The  stage  should  be  separated  from  the  auditorium  by  a 
fireproof  wall,  with  fire  doors  and  a  fireproof  curtain. 

This  wall  does  not  necessarily  have  to  be  of  heavy  brick 
construction,  but  may  be  built  of  steel  and  terra-cotta  blocks, 
which  take  less  room.  The  curtain  should  be  kept  lowered 
until  just  before  the  performance  begins,  and  lowered  again 
immediately  afterward.  It  should  be  arranged  at  the  sides 
and  top  so  as  to  thoroughly  seal  the  openings,  when  lowered, 
to  prevent  smoke  from  passing  into  the  auditorium  by  having 
the  curtain  run  in  grooves  at  the  sides.    The  curtain  should 


THEATRES  AND  PICTURE  HOUSES  39 

be  heavy  enough  to  withstand  the  extra  air  currents  caused 
by  fire.  It  is  well  that  this  curtain  should  be  operated  both 
from  the  stage  floor  and  from  the  fly  gallery. 


STAGE  FLOOR 

The  floor  should  be  level.  The  rear  part  of  the  stage  is 
called  "up  stage"  and  the  front  part,  toward  the  footlights, 
is  called  "down  stage."  The  working  surface  or  that  part 
of  the  stage  on  which  the  play  is  produced  is  usually  built  of 
wood,  on  account  of  the  numerous  traps  required  and  the 
necessity  of  fastening  scenery  to  the  floor,  but  the  construc- 
tion part  may  be  of  steel,  while  the  sides  of  the  stage,  beyond 
the  wings,  may  be  entirely  of  fireproof  material. 


APRON 

Do  not  make  the  apron  of  stage  outside  of  the  curtain  line 
too  wide.  Three  feet  is  plenty  in  any  case,  and  in  most  cases 
less  will  do.  It  is  better  to  make  the  front  part  of  the  stage 
straight,  but  a  slight  contour  following  the  radius  of  the  seats 
may  be  used  if  desired,  and  the  corners  or  ends  mav  be 
rounded  off  at  sides.  The  footlights  require  a  space  of  from 
18  to  20  inches  in  width  and  from  5  to  10  inches  deep,  and 
should  be  close  to  the  curtain  line,  with  no  apron  outside 
of  footlights.  One  theatre  expert  claims  that  the  footlights 
should  be  back  of  the  curtain  so  that  the  stage  director  may 
see  the  light  effects  on  the  stage  setting  before  the  curtain 
rises.  The  actor  should  be  kept  well  back  from  the  footlights 
so  as  to  get  the  best  effects,  otherwise  there  will  be  deep 


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THEATRES  AND  PICTURE  HOUSES 


shadows  on  his  face.  The  older  type  of  theatres  have  wide 
aprons ;  the  newer  houses  have  very  narrow  aprons  or  none 
at  all. 

HEIGHT  OF  STAGE  FLOOR 

The  height  of  the  stage  floor  above  the  main  floor  should 
be  from  3  ft.  6  in.  to  4  ft.  2  in.,  so  as  to  have  the  top  of  the 
stage  just  below  the  level  of  the  eye  of  the  persons  in  the  front 
row.  The  pitch  of  the  auditorium  floor  somewhat  regulates 
this  variation  in  height.  In  halls  where  the  floor  is  level  the 
height  of  the  stage  should  be  from  3  ft.  8  in.  to  4  ft.  8  in. 


WIDTH  OF  STAGE 

Do  not  make  the  stage  any  narrower  than  the  auditorium, 
as  all  the  space  is  needed  on  the  stage,  especially  if  the  dress- 
ing rooms  are  to  be  located  on  the  stage. 


DEPTH  OF  STAGE 

The  depth  of  the  stage  should  be  at  least  equal  to  the  width 
of  the  proscenium  arch.  Dressing  rooms  are  generally 
located  on  each  side  of  the  stage,  sometimes  in  tiers,  one  above 
the  other,  according  to  requirements.  They  may  also  be 
located  in  the  rear  if  space  permits,  or  underneath  the  stage. 
Never  do  any  plastering  on  the  walls  or  ceilings  of  the  stage, 
except  in  the  dressing  rooms.  Allow  plenty  of  room  on  sides 
of  stage  between  wings  and  the  dressing  rooms,  5  ft.  or  more. 


THEATRES  AND  PICTURE  HOUSES  43 

SWITCHBOARD 

The  switchboard  is  always  located  on  the  right  side  of  the 
stage  (looking  toward  the  audience).  Leave  at  least  4  ft. 
between  opening  of  proscenium  arch  and  switchboard ;  6  or  8 
ft.  is  better.  Sometimes  the  switchboard  is  set  on  the 
prompter's  platform,  which  is  set  about  7  ft.  above  the  stage 
floor.  This  leaves  a  clear  passage  to  the  first  entrance  with- 
out crowding  the  electrician  in  front  of  the  board. 

FLY  GALLERY 

The  fly  gallery  is  a  stationary  bridge  or  platform  set  a 
proper  distance  above  the  stage  and  is  for  the  use  of  the  fly- 
man who  operates  the  drops,  etc.  This  gallery  runs  from 
front  to  rear  of  stage  and  is  from  3  to  8  ft.  wide. 

They  may  be  built  of  any  type  of  construction  that  the 
architect  wishes  to  design,  as  long  as  the  results  are  accom- 
plished and  the  proper  provisions  made  for  handling  the 
rigging. 

The  fly  gallery  is  always  located  on  the  same  side  of  the 
stage  as  the  switchboard.  In  some  very  large  houses  there  are 
fly  galleries  on  both  sides  and  sometimes  one  above  the  other. 
They  serve  also  as  ties  for  the  walls. 

The  bottom  of  fly  gallery  should  be  about  on  a  level  with 
the  top  of  the  arch  or  about  half  way  between  the  stage  floor 
and  the  gridiron,  or  rigging  loft,  and  never  less  than  24  ft. 
If  it  is  a  house  that  caters  to  traveling  companies,  it  should  be 
at  least  27  ft.  above  the  stage  floor. 

The  fly  gallery  is  equipped  with  one  or  two  pin  rails  made 
of  steel  tubing,  one  above  the  other,  with  belaying  pins  about 
8  in.  apart  on  which  to  fasten  all  the  ropes  for  manipulating 


f 


THEATRES  AND  PICTURE  HOUSES  45 

the  borders,  drops,  etc.  A  modern  tendency  is  to  place  the 
pin  rails  on  the  stage  floor  near  the  side  walls,  as  the  scenery 
can  be  operated  with  fewer  men  and  more  promptly. 

In  halls  and  small  theatres  the  fly  gallery  may  be  dis- 
pensed with,  working  all  drops,  etc.,  from  the  stage  floor  with 
counterweights;  this  of  course  takes  up  more  room  on  the 
stage. 

The  face  of  the  fly  gallery  should  be  at  least  6  ft.  back 
from  the  side  of  the  arch  to  allow  room  for  the  draperies, 
drops,  borders,  etc. ;  10  ft.  to  12  ft.  is  better  in  large  houses. 
The  grand  draperies  and  borders  often  extend  5  ft.  beyond 
the  opening  of  the  arch.  Some  large  productions  carry  drops 
40  to  50  ft.  long.  Drops  should  always  be  at  least  the  full 
width  of  the  arch.    (See  table  of  stage  dimensions.) 

No  grooves  are  used  in  the  modern  houses,  as  the  various 
wings  are  made  to  stand  alone,  without  bracing. 

GRIDIRON 

The  gridiron  or  rigging  loft  is  an  open  floor  consisting  of 
slats  set  3  to  4  in.  apart  to  allow  the  ropes  to  pass  through 
for  the  drops,  borders,  etc.,  which  pass  over  blocks  or  pulleys 
secured  to  the  upper  side  of  the  slats.  Three  line  sets  are 
always  required  for  scenery.  Where  the  drops  are  over  45  ft., 
wide,  there  should  be  four  line  sets. 

The  slats  should  run  from  front  to  rear  of  stage  and  be 
stiff  enough  to  bear  the  weight  of  men  walking  on  them  and 
well  supported  in  the  center  and  at  each  end  or  oftener, 
according  to  the  span.  The  gridiron  may  be  supported  by 
steel  girders  running  from  wall  to  wall  or  may  be  suspended 
from  its  roof  trusses,  as  desired. 


46  THEATRES  AND  PICTURE  HOUSES 

The  gridiron  of  course  carries  the  weights  of  all  flies, 
drops,  border,  border  lights  and  anything  that  may  be  neces- 
sary to  be  suspended  during  any  act.  One  hundred  pounds 
per  square  foot  live  load  is  sufficient.  The  gridiron  only  need 
cover  the  working  portion  of  the  stage,  or  a  trifle  more  than 
the  width  of  the  arch  on  both  sides.    (See  Figs.  13,  14.) 

The  gridiron  should  be  twice  the  height  of  the  proscenium 
arch  above  the  stage  plus  about  5  ft,  or  high  enough  for  all 
drops  to  pass  up  out  of  sight  behind  the  borders  and  draperies 
with  two  or  three  feet  to  spare.  There  should  be  at  least  3  ft. 
of  space  above  the  gridiron  under  the  roof ;  6  ft.  is  better,  as 
it  allows  full  head  room. 

There  must  be  access  to  the  fly  gallery  and  gridiron  by 
means  of  a  stairway  or  ladder  in  some  out-of-the-way  corner. 
If  ladders  are  used,  they  should  be  secured  in  place  at  the  top 
and  bottom. 

When  only  light  vaudeville  is  put  on,  the  height  of  the 
ceiling  or  roof  over  stage  may  be  only  3  ft.  above  the  arch  to 
allow  for  the  hanging  of  draperies,  ceiling  border,  lights,  etc. 
The  curtain  in  this  case  would  have  to  roll  up. 


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THEATRES  AND  PICTURE  HOUSES 


49 


STAGE  DIMENSIONS  OF  VARIOUS  HOUSES 


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Academy  of  Music,  Philadelphia 

Academy  of  Music,  Baltimore 

Academy  of  Music,  Chicago 

Academy  of  Music,  Washington,  D.  C.  . 

Alhambra,  Milwaukee 

American,  New  York  City 

Amphion,  Brooklyn,  N.  Y 

Atlanta,  Atlanta,  Ga 

Auditorium,  Chicago,  111 

Auditorium,  Philadelphia 

Auditorium,  Minneapolis 

Baker,  Rochester 

Blackstone,  Chicago 

Broadway,  New  York  City 

Broadway,  Denver 

Broad  St.,  Philadelphia 

Boston,  Boston,  Mass 

Casino,  New  York  City 

Century,  St.  Louis 

Cleveland,  Cleveland,  Ohio 

Colonial,  New  York  City 

Colonial,  Chicago,  111 

Colonial,  Boston,  Mass 

Columbia,  Brooklyn,  N.  Y 

Columbia,  Washington,  D.  C 

Columbia,  San  Francisco,  Cal 

Crescent,  New  Orleans 

Davidson,  Milwaukee,  Wis 

Empire,  Syracuse,  N.  Y 

Empire,  New  York  City 

Empire  Detroit,  Mich 

Empire,  Indianapolis,  Ind 

Forest, Philadelphia,  Pa 

Garrick,  New  York  City 

Grand  Opera  House,  Boston,  Mass.  .  . 

Imperial,  St.  Louis,  Mo 

Illinois,  Chicago,  111 

Klaw  &  Erlanger,  Seattle,  Wash 

Knickerbocker,  New  York  City 

Keith's,  Boston,  Mass 

Hollis  St.,  Boston,  Mass 

Lyric,  New  York  City 

Lyceum,  Cleveland,  Ohio 

Lyceum,  Toledo,  Ohio 

Majestic.  New  York  City 

Majestic,  Brooklyn,  N.  Y 

Mason  Opera  House,  Los  Angeles,  .  .  . 

Masonic,  Louisville,  Ky 

Metropolitan    Opera    House,    New    York 
City 

New  Amsterdam,  New  York  City .... 

New  Lyceum,  New  York  City 

New  York,  New  York  City 

Nixon,  Pitt.sburg,  Pa 

Newark,  Newark,  N.J 

National,  Rochester,  N.  Y 

New  Curtis,  Denver,  Col 

Park,  Brooklyn,  N.  Y 

Pabst,  Milwaukee,  Wis 

Payton's,  Brooklyn,  N.  Y 

Power's,  Chicago,  III 

Park,  Indianapolis,  Ind 

Prospect,  Cleveland,  Ohio 

Proctor's,  23rd  St.,  New  York  City.  .  . 

Proctor's,  58th  St.,  New  York  City.  .  . 

Proctor's,  125th  St.,  New  York  City.  . 

Orpheum,  New  Orleans 

Schubert's,  St.  Louis,  Mo 

Schubert's,  Boston,  Mass 

Schubert's,  Minneapolis,  Minn 

Schubert's,  New  York  City 

Tourlain,  New  Orleans 


Ft. 

90 
80 
75 
76 
85 
78 
70 

100 

100 
75 
78 
64 

100 
75 
67 
60 
90 
91 
66 
62 
85 

100 
80 
82 
80 
70 
65 
85 

100 
67 
50 
80 

120 
60 
80 
70 
70 

100 
64 

72 
80 
76 
58 
100 
80 
72 
70 

100 
80 
81 
70 

100 
84 
81 
50 
55 
72 
90 
62 
76 
70 
70 
70 
80 
76 
73 
80 
69 
84 
65 


Ft. 

80 

52 

28 

73 

31 

56 

37 

40 

62 

27 

36 

35 

40 

43 

36 

38 

SO 

25 

45 

36 

40 

40 

41 

49 

36 

45 

37 

37 

40 

30 

36 

27 

50 

28 

40 

36 

42 

40 

40 

50 
40 
33 
33 
39 
38 
43 
40 

76 
48 
33 
42 
46 
37 
34 
21 
31 
41 
38 
40 
40 
37 
36 
25 
40 
32 
36 
43 
34 
34 
37 


Ft. 

50 

47 

30 

36 

44 

38 

30 

34 

47 

33 

78 

38 

34 

36 

35 

33 

50 

39 

32 

36 

36 

34 

38 

43 

35 

37 

35 

38 

34 

34 

30 

36 

40 

30 

36 

36 

35 

34 

35 

34 

38 

38 

33 

35 

37 

38 

44 

36 

54 
40 
34 
35 
42 
37 
40 
30 
30 
35 
32 
34 
34 
36 
32 
40 
32 
32 
36 
40 
38 

35 


Ft. 
50 
40 
30 
34 
55 
39 
30 
30 
34 
34 
36 
30 
30 
36 
35 
36 
48 
30 
31 

28 
30 
38 
43 
33 
40 
33 
35 
30 
33 
29 
31 
34 
30 
40 
38 
36 
30 
35 
34 
40 
35 
39 
28 
48 
34 
36 
36 

54 
36 
32 
38 
38 
36 
32 
28 
29 
32 
32 
36 
32 
37 
41 
39 
40 
35 
32 
30 
30 
25 
33 


Ft. 


31 


27 
30 


35 

26 
25 


30 


24 
28 
23 
35 
33 
28 
30 
25 


34 
31 

33 
31 
30 


30 


30 


35 
26 
30 

26 
32 

25 


Ft. 
73 
85 
60 
65 
70 
72 
60 
70 
90 
60 
42 
65 
70 
68 
75 
56 
70 
40 
68 

60 
70 
77 
70 
64 
78 
61 
75 
70 
69 
45 
56 
70 
55 
61 
66 
72 
70 
70 
59 
60 
66 
63 
60 
70 
71 

72 

98 
70 
80 
74 
80 
68 
63 

55 
70 

61 
60 
68 
57 
70 
90 
71 
60 
68 
64 
60 
61 


Ft. 

10 

2 

4 
3 
4 
2 
3 

8 
3 
9 
1 

5 
4 
4 
10 
2 
4 
3 
7 

4 
3 
4 
3 
3 
3 

4 
3 
3 
3 
2 
8 
2 

2 


o 
2 
3 
3 
4 
4 
4 
3 

13 
2 
3 
4 
3 
7 
4 
3 
2 
3 
2 
2 
5 
5 

9 
3 
3 
3 
2 
4 


Ft. 
54 
56 

48 
60 
70 
47 
80 
90 
42 

46 
84 
52 
52 
45 
54 
52 
49 
44 
50 
80 
52 
61 
48 
45 
44 
51 
80 
50 
40 
44 

38 
44 
50 
50 
80 
50 
52 
45 
65 
48 
38 
70 
52 
56 
50 

77 
54 
60 
51 
58 
55 
60 
36 
42 
50 

■ii 

44 

52 

50 

45 
50 
55 
53 
56 
44 


Ft. 
25 
9 
9 
10 
10 
16 
10 

is 

9 

6 

10 

15 
12 
10 
32 
27 
13 
10 
12 

25 

9 

16 

■7 
8 

9 

8 

11 


10 
11 
14 

io 

9 
12 
14 
16 

9 
10 
11 
11 
10 

27 
22 
30 
11 

i2 
11 
15 
13 
8 
18 
12 
12 
10 

i2 

15 

8 


50  THEATRES  AND  PICTURE  HOUSES 

STAGE  DOORS 

Besides  doors  for  the  actors  or  employees,  trunks,  etc., 
there  should  be  a  scenery  door  at  least  4  ft.  6  in.  wide  and  as 
high  as  the  distance  to  the  underside  of  the  fly  gallery,  to 
admit  the  scenery  to  be  carried  in  on  end.  This  door  may  be 
made  in  two  sections. 

PAINT  BRIDGE 

In  theatres  where  they  paint  their  own  scenery,  a  paint 
bridge  is  constructed  across  the  back  of  the  stage  near  the  rear 
wall  and  supported  from  the  gridiron  or  roof  trusses,  or  may 
span  from  the  fly  galleries.  This  bridge  may  be  either  sta- 
tionary or  made  to  raise  and  lower.  They  are  usually  made 
stationary  with  a  space  of  from  12  in.  to  20  in.  between  the 
bridge  and  back  wall,  and  the  frames  for  the  scenery  sus- 
pended and  counterbalanced  from  the  gridiron,  so  as  to  be 
raised  or  lowered  at  the  will  of  the  painter.  Sometimes  these 
paint  frames  are  operated  by  a  winch  or  bullwheel.  Where 
this  work  is  done  on  a  large  scale,  it  is  better  to  provide  a 
separate  building  or  addition  for  it  on  account  of  the  danger 
from  fire  caused  by  the  painter's  materials. 


THEATRES  AND  PICTURE  HOUSES  51 

LIGHTING  GALLERY 

In  cases  where  large  and  spectacular  effects  are  to  be  pro- 
duced, it  is  advisable  to  have  a  "lighting  gallery"  suspended 
just  above  the  center  of  the  proscenium  arch,  from  which 
spot  lights  and  other  lighting  devices  may  be  operated  above 
and  directly  in  front  of  the  stage  setting  to  produce  various 
lighting  effects  without  casting  shadows. 

SCENE  DOCK 

In  large  houses  where  a  large  amount  of  scenery  is  used, 
there  should  be  a  scenery  dock  provided,  also  a  property 
room.  The  dock  may  be  at  one  side  or  in  the  rear  of  the  stage 
or  in  adjoining  wings.  There  should  be  an  opening  between 
the  stage  and  the  dock ;  also  an  opening  to  the  street  or  alley, 
5  ft.  wide  and  24  ft.  or  more  high,  so  that  wings  may  be 
brought  in  on  end  and  not  laid  on  the  floor  or  on  edge.  These 
doors  to  be  in  two  sections,  one  upper  and  one  lower.  The 
lower  section  may  be  double  if  desired,  so  that  one  part  may 
be  used  for  ordinary  passage  without  opening  the  whole  door. 

SKY-LIGHT 

The  roof  over  every  stage  should  be  provided  with  a  slid- 
ing or  automatically  opening  sky-light  to  admit  light  to  the 
stage  and  paint  bridge,  and  for  ventilating  purposes,  but  prin- 
cipally for  use  in  case  of  fire  to  allow  smoke  and  gases 
to  escape.  This  sky-light  should  be  made  to  slide  or  open 
automatically,  and  also  to  be  controlled  by  a  hemp  cord  from 
the  stage  floor. 


52  THEATRES  AND  PICTURE  HOUSES 

This  sliding  sky-light,  together  with  the  asbestos  curtain, 
also  controlled  from  the  stage  floor,  provide  a  very  good  com- 
bination for  the  protection  of  the  audience.  Other  types  of 
sky-lights,  such  as  hinged  sides,  may  be  used  if  desired. 
(See  Fig.  12.) 

If  metal  ventilators  are  used  in  the  roof,  they  should  also 
have  counterbalanced  dampers  operated  by  a  cord  that  will 
readily  burn  in  two  in  case  of  fire,  and  thus  open  the  venti- 
lator. The  size  of  the  sky-light  should  be  equal  to  about  10 
per  cent  of  the  area  of  the  stage. 


EGRESS 

While  the  foregoing  is  for  the  benefit  of  the  audience,  safe 
means  of  egress  must  be  provided  for  the  stage  hands  at  work 
on  the  fiy  gallery  and  rigging  aloft,  such  as  windows  opening 
onto  outside  fire  escapes  or  adjoining  roofs. 


TRAPS 

The  construction  of  the  stage  floor  should  be  made  in  such 
a  manner  that  traps  may  be  taken  up  or  cut  through  at 
desired  points.  Some  of  the  most  modern  theatres  in  the 
large  cities  have  a  very  elaborate  system  of  traps,  where  the 
whole  working  part  of  the  stage  is  supported  on  hydraulic 
jacks  or  other  mechanical  means  and  the  whole  or  any  section 
may  be  raised  and  lowered  by  simply  removing  a  lever,  but 
it  is  not  necessary  to  go  into  detail  on  the  matter. 


? 

;; 
% 


54  THEATRES  AND  PICTURE  HOUSES 

FLOOR  FINISH 

There  are  a  number  of  plastic  or  composition  floor  sur- 
facing compounds  that  make  a  desirable  floor  finish,  and  may 
be  applied  over  wood,  metal  or  concrete,  and  by  their  use  a 
sanitary  cove  or  base  may  be  constructed  that  may  be  readily 
kept  clean.  The  writer  has  used,  with  very  good  results,  a 
composition  floor  finish,  known  as  "Marbleoid."  It  is  light 
weight,  fireproof,  easy  to  walk  upon  and  is  as  soft  to  the  feet 
as  a  wood  floor.  It  is  not  cold  like  concrete  or  tile.  Being 
plastic,  it  will  not  crack  on  account  of  uneven  settlement  of 
the  floors  or  the  vibration  of  the  building.  It  is  made  of 
several  colors,  principally  red,  buff  and  gray.  These  are  fast 
colors.  Other  colors  may  be  used  for  borders  if  desired,  such 
as  blue  and  green,  although  these  latter  colors  will  fade  in 
time,  on  account  of  the  character  of  the  coloring  pigments. 
These  floors  cost  a  little  more  per  square  foot  than  ordinary 
cement,  but  considerably  less  than  tile.  The  seats  may  be 
readily  fastened  to  this  floor  compound.  The  same  materials 
may  be  used  for  wainscoting,  etc. 

Ordinary  concrete  floors  should  be  treated  with  some  suit- 
able treatment  to  bind  the  surface  and  prevent  dust  from 
.  rising. 

Wood  floors  should  be  oiled  with  boiled  linseed  oil  or  some 
good  floor  compound  at  least  once  a  year. 


56  THEATRES  AND  PICTURE  HOUSES 

FLOOR  LOADS 

The  safe  live  load  for  all  theatre  floors  should  be  equal  to 
the  following,  per  sq.  ft. : 

Lobby  and  Corridors 100 

Stairways   100 

Auditorium    80 

Balcony 80 

Stage 250 

Scene   Docks 100 

Property   Rooms 150 

Gridiron   70 

Roofs 40 

CEILINGS 

The  ceihng  of  the  auditorium  should  not  be  made  exces- 
sively high,  as  it  requires  much  more  heat  to  properly  warm 
the  building  and  renders  it  more  diflficult  for  the  actor  to  be 
heard,  as  his  voice  is  apt  to  be  lost. 

There  are  many  methods  of  constructing  ceilings  that  do 
not  require  mentioning  here. 

Plaster  and  metal  are  the  most  common  methods  used  in 
finishing  the  undersurface  of  the  ceiling.  Plaster  ceilings 
may  be  richly  embellished  with  plaster  ornamentators,  paint- 
ings, etc. 

Metal  ceilings  may  be  made  in  beam  and  panel  effects  and 
may  be  rendered  fire  and  soundproof  by  applying  same  over 
plaster  boards  or  asbestos,  or  by  filling  a  portion  of  the  dead 
space  with  mineral  wool. 


IV.     AMERICAN   THEATRE,   CHICAGO,   ILLINOIS 
Mahler  &  Cordell,  Architects 


i 


THEATRES  AND  PICTURE  HOUSES  57 

ELEVATORS  AND  ESCALATORS 

Elevators  have  occasionally  found  a  place  in  the  theatre 
for  transporting  people  to  the  balconies  and  galleries,  but 
their  intermittent  service  has  made  them  not  entirely  feasible 
for  this  purpose. 

Within  the  last  few  years,  however,  the  idea  of  using 
escalators  or  moving  stairways  to  induce  increased  balcony 
and  gallery  patronage  has  gained  considerable  headway. 
There  are  now  quite  a  representative  number  of  theatres  that 
have  one  or  more  escalators.  Escalators  have  an  advantage 
over  the  elevator  for  theatre  use  in  that  they  have  a  much 
greater  capacity;  in  other  words,  they  will  accommodate  a 
much  larger  number  of  people  within  the  same  period  of 
time. 

Escalators  are  frequently  installed  to  afford  direct  trans- 
portation from  lobby  to  balconies.  They  are  practically  noise- 
less, affording  a  constant,  quiet  means  of  carrying  guests 
to  seats  in  the  upper  portions  of  the  house.  They  are  made 
reversible  so  that  they  can  operate  upward  before  or  during 
the  performance  and  downward  after  the  performance. 

The  power  costs  of  an  escalator's  operation  approximate, 
under  ordinary  usage,  $5.00  to  $10.00  per  month. 

Neither  the  elevator  nor  the  escalator  is  at  present  con- 
sidered an  exit  under  the  law,  serving  only  as  a  means  of 
accommodating  the  patrons  of  the  theatre.  We  believe,  how- 
ever, that  there  would  be  less  danger  of  congestion  on  an 
escalator  than  on  a  stairway. 


58  THEATRES  AND  PICTURE  HOUSES 

PROJECTION  ROOM  OR  MACHINE  BOOTH 

The  booth  is  one  of  the  most  important  features  of  a  pic- 
ture theatre,  as  it  is  here  that  the  operator  holds  sway,  and 
the  operator  is  the  man  on  whose  abihty  depends  largely  the 
proper  rendering  of  the  play;  therefore  the  theatre  owner 
should  provide  everything  requisite  to  facilitate  the  work  of 
the  operator. 

The  booth  must  be  made  of  fireproof  materials  and  of 
sufficient  size  to  provide  plenty  of  working  space.  While  the 
modern  machines  are  virtually  considered  safe  from  danger 
of  fire  or  accident,  it  is  desirable,  and  in  some  states  requisite, 
that  the  booth  should  be  provided  with  a  12  in.  ventilating 
tube  or  flue  extending  up  through  the  roof  or  out  through 
the  front  or  side  wall,  as  the  case  may  be,  to  carry  away  any 
flames,  smoke  or  gases  caused  by  the  machine,  and  the  tube 
should  be  equipped  with  a  14  in.  electric  fan  in  a  16  in.  x  16  in. 
box  and  always  kept  in  motion  while  the  operator  is  at  work. 
It  is  desirable  that  a  space  should  be  provided  at  one  end  of 
the  projection  room  about  2  ft.  6  in.  or  3  ft.  wide  to  be  used 
as  a  rewinding  room  and  made  of  the  same  materials  as  the 
booth  and  separated  by  a  partition  and  an  automatically  clos- 
ing door.  A  non-combustible  shelf  for  rewinding  the  reels  is 
desirable ;  also  an  electric  light  in  the  ceiling. 

It  is  not  a  good  idea  to  do  the  rewinding  in  the  booth  on 
account  of  the  possible  danger  from  films  catching  fire,  nor 
should  extra  films  be  stored  in  the  booth.  The  booth  should 
be  mounted  on  a  solid  floor  to  avoid  vibration,  as  this  affects 
the  picture.  Where  a  booth  is  placed  in  the  rear  of  a  balcony 
of  wood  joist  construction  that  has  considerable  overhang, 
the  vibration  caused  by  heavy  persons  descending  the  steps 
in  the  aisles  will  cause  the  machine  to  vibrate,  so  it  is  well  to 


THEATRES  AND  PICTURE  HOUSES  59 

brace  this  platform  in  every  possible  way  from  below  or  from 
roof  trusses,  whichever  is  the  best  available  method.  In  steel 
or  concrete  balconies  this  is  not  necessary.  The  machine 
should  be  rigidly  secured  to  the  floor  by  wire  braces  and  turn- 
buckles. 

If  the  legs  of  the  machine  are  set  in  a  box  of  sand  or  on  a 
cork  base,  the  noise  from  the  machine  will  be  deadened.  The 
booths  may  be  built  of  brick,  concrete,  terra-cotta,  metal 
studs  with  metal  lath  and  plaster,  or  asbestos  lumber  with  a 
steel  angle  frame.  If  made  of  asbestos  lumber,  the  boards 
should  be  I/2  ^^-  thick,  the  steel  angles  li/4  in.  x  I14  in.  x  3/16 
in.,  bolted  together  and  properly  braced.  Some  manufacturers 
make  these  booths  in  sections  ready  to  ship  and  are  readily 
bolted  together  on  the  job.  They  are  made  in  standard  sizes, 
and  may  be  enlarged  at  any  time  by  simply  adding  more 
sections.  All  booths  must  have  air  intakes  at  the  bottom 
covered  with  wire  mesh. 

The  asbestos  booths  may  be  enclosed  with  studs,  and  lathed 
and  plastered  and  made  to  harmonize  with  the  rest  of  the 
house,  but  plaster  cannot  be  applied  directly  on  the  asbestos 
lumber. 

Metal  booths  have  practically  nothing  to  commend  them, 
except  that  the  material,  of  course,  is  not  combustible.  They 
are  likely  to  become  "grounded"  electrically,  and  act  as  sound- 
ing boards,  increasing  the  noise  of  the  operation  of  the  pro- 
jecting machine.  Cases  are  recorded  where  metal  film  reels 
have  come  in  contact  with  frames  of  picture  machines  and 
walls  of  metal  booths,  causing  short  circuits  and  igniting  the 
films.  Also  there  is  the  hazard  of  shocking  the  operator.. 
Despite  these  obvious  disadvantages,  sheet  metal  booths  arc 
specified  in  Maine  and  Texas,  among  other  places. 


60  THEATRES  AND  PICTURE  HOUSES 

Single  machine  booths  should  be  6  ft.  wide  and  8  ft.  deep 
and  7  ft.  high.  Two  machines  require  9  ft.  wide,  8  ft.  deep  and 
7  ft.  high,  and  three  machines  require  12  ft.  wide,  8  ft.  deep 
and  7  ft.  high.  All  above  are  for  inside  dimensions,  with  about 
3  ft.  added  for  the  rewinding  room.  All  doors  should  swing 
outward  and  be  self-closing  and  not  over  2  ft.  wide  by  at 
least  6  ft.  high. 

The  floor  of  the  projection  room  must  also  be  fireproof. 
If  the  booth  rests  on  a  wooden  platform,  it  must  be  covered 
with  asbestos  lumber  %  in.  thick.  The  openings  in  front  of 
the  booth  for  the  projection  and  for  the  operator's  view  must 
have  a  self-closing  shutter  of  heavy  steel  plate  or  asbestos 
to  work  in  a  metal  groove  or  channel,  and  held  open  by  strings 
or  cord  with  fusible  links,  and  arranged  in  series  so  that  they 
may  be  instantly  released  when  a  fire  starts  in  any  part  of 
the  booth,  or  by  the  operator. 

The  booth  should  contain  a  switchboard  where  the  opera- 
tor may  control  the  house  lights.  The  house  lights  may  also 
be  controlled  from  the  manager's  office  or  from  the  stage  if 
desired. 


THEATRES  AND  PICTURE  HOUSES 


61 


Table  For  Film  Projection 

Distance  from  Film  to  Screen 


Equiv. 

Focus  in 

Inches 

15 
Ft. 

20 
Ft. 

25 
Ft. 

30 
Ft. 

35 
Ft. 

40 
Ft. 

45 
Ft. 

50 
Ft. 

55 
Ft. 

60 
Ft. 

65 
Ft. 

70 
Ft. 

75 
Ft. 

80 
Ft. 

2 

5.1 
6.9 

6.9 
9.0 

8.5 
11.3 

10.1 
13.7 

11.10 
15.10 

13.6 
18.1 

15.2 
20.4 

16.10 
22.7 

18.8 
24.10 

20.4 
27.2 

22.0 
29.5 

23.9 
31.8 

25.2 
33.11 

27.1 
36.2 

2^ 

4.9 
6.4 

6.4 
8.6 

7.11 
10.7 

9.6 
12.9 

11.2 
14.11 

12.9 
17.0 

14.4 
19.2 

15.11 
21.3 

17.6 
23.5 

19.2 
25.6 

20.9 

27.8 

22.4 
29.10 

23.11 
31.11 

25.6 
34.1 

2M 

4.6 
6.0 

6.0 
8.0 

7.6 
10.0 

9.0 
12.0 

10.6 
14.1 

12.0 
16.1 

13.6 
18.1 

15.0 
20.1 

16.7 
22.1 

18.1 
24.1 

19.7 
26.2 

21.1 
28.2 

22.7 
30.2 

24.1 
32.2 

2^ 

4.0 
5.5 

5.5 
7.2 

6.9 
9.0 

8.1 
10.10 

9.6 
12.8 

10.10 
14.5 

12.2 
16.3 

13.6 
18.1 

14.11 
19.11 

16.3 
21.8 

17.7 
23.6 

19.0 
25.4 

20.4 
27.2 

21.8 
28.11 

2M 

3.8 
4.11 

4.11 
6.6 

6.2 
8.2 

7.4 
9.10 

8.7 
11.6 

9.10 
13.2 

11.1 
14.9 

12.4 
16.5 

13.6 
18.1 

14.9 
19.9 

16.0 
21.4 

17.3 
23.0 

18.6 
24.8 

19.8 
26.4 

3 

3.4 

4.6 

4.6 
6.0 

5.7 
7.6 

6.9 
9.0 

7.11 
10.6 

9.0 
12.0 

10.2 
13.7 

11.3 
15.1 

12.5 
16.7 

13.6 
18.1 

14.8 
19.7 

15.10 
21.1 

16.11 
22.7 

18.1 
24.1 

3H 

3.1 
4.2 

4.2 
5.6 

5.2 
6.11 

6.3 

8.4 

7.3 
9.9 

8.4 
11.1 

9.4 
12.6 

10.5 
13.11 

11.5 
15.3 

12.6 
16.8 

13.6 
18.1 

14.7 
•19.6 

15.7 
20.10 

16.8 
22.3 

m 

2.10 
3.10 

3.10 
5.2 

4.10 
6.5 

5.9 
7.9 

6.9 
9.0 

7.9 
10.4 

8.8 
11.7 

9.8 
12.11 

10.8 
14.2 

11.7 
15.6 

12.7 
16.9 

13.6 
18.1 

14.6 
19.4 

15.6 
20.8 

Wi 

2.8 
3.7 

3.7 
4.9 

4.6 
6.0 

5.  5 
7.2 

6.3 
8.5 

7.2 
9.7 

8.1 
10.10 

9.0 
12.0 

9.11 
13.3 

10.10 
14.5 

11.9 
15.8 

12.8 
16.10 

13.6 
18.1 

14.5 
19.3 

4 

2.6 
3.4 

3.4 

4.6 

4.2 
5.7 

5.1 
6.9 

5.11 
7.11 

6.9 
9.0 

7.7 
10.2 

8.5 
11.3 

9.3 
12.1 

10.2 
13.7 

11.0 
14.8 

11.10 
15.10 

12.8 
16.11 

13.6 
18.1 

4M 

2.4 
3.2 

3.2 

4.3 

3.11 
5.3 

4.9 
6.4 

5.7 
7.5 

6.4 
8.6 

7.2 
9.7 

7.11 
10.7 

8.9 
11.8 

9.6 
12.9 

10.4 
13.10 

11.2 
14.11 

11.11 
15.11 

12.9 
17.0 

4^ 

2.3 
3.0 

3.0 
4.0 

3.9 
5.0 

4.6 
6.0 

5.3 
7.0 

6.0 
8.0 

6.9 
9.0 

7.6 
10.0 

8.3 
11.0 

9.0 
12.0 

9.9 
13.0 

10.6 
14.1 

11.3 
15.1 

12.0 
16.1 

i% 

2.1 
2.10 

2.10 
3.9 

3.6 
4.9 

4.3 

5.8 

5.0 
6.8 

5.8 
7.7 

6.5 
8.6 

7.1 
9.6 

7.10 
10.5 

8.6 
11.5 

9.3 

12.4 

10.0 
13.4 

10.8 
14.3 

11.4 
15.3 

5 

2.0 
2.8 

2.8 
3.7 

3.4 
4.6 

4.0 
5.5 

4.9 
6.4 

5.5 
7.2 

6.1 
8.1 

6.9 
9.0 

7.5 
9.11 

8.1 
10.10 

8.9 
11.9 

9.6 
12.8 

10.2 
13.7 

10.10 
14.5 

5M 

1.11 
2.6 

2.6 
3.5 

3.2 
4.3 

3.10 

5.2 

4.6 
6.0 

5.2 
6.10 

5.9 
7.9 

6.5 
8.7 

7.1 
9.5 

7.9 
10.4 

8.4 
11.2 

9.0 
12.0 

9.8 
12.11 

10.4 
13.9 

5Ji 

1.10 
2.5 

2.5 
3.3 

3.0 
4.1 

3.8 
4.11 

4.3 
5.9 

4.11 
6.6 

5.6 
7.4 

6.2 

8.2 

6.9 
9.0 

7.4 
9.10 

8.0 
10.8 

8.7 
11.6 

9.3 
12.4 

9.10 
13.2 

5?i 

1.9 
2.4 

2.4 
3.1 

2.11 
3.11 

3.6 

4.8 

4.1 
5.6 

4.8 
6.3 

5.3 
7.1 

5.10 
7.10 

6.5 
8.7 

7.0 
9.5 

7.8 
10.2 

8.3 
11.0 

8.10 
11.9 

9.5 
12.7 

6 

1.8 
2.3 

2.3 
3.0 

2.9 
3.9 

3.4 

4.6 

3.11 
5.3 

4.6 
6.0 

5.1 
6.9 

5.7 
7.6 

6.2 
8.3 

6.9 
9.0 

7.4 
9.9 

7.11 
10.6 

8.5 
11.3 

9.0 
12.0 

6M 

1.7 
2.2 

2.2 
2.10 

2.8 
3.7 

3.3 
4.4 

3.9 
5.0 

4.4 
5.9 

4.10 
6.6 

5.5 
7.2 

5.11 
7.11 

6.6 

8.8 

7.0 
9.5 

7.7 
10.1 

8.1 
10.10 

8.8 
11.7 

ej^ 

1.6 
2.1 

2.1 
2.9 

2.7 
3.5 

3.1 

4.2 

3.7 
4.10 

4.2 
5.6 

4.8 
6.3 

5.2 
6.11 

5.8 
7.7 

6.2 

8.4 

6.9 
9.0 

7.3 
9.9 

7.9 
10.5 

8.4 
11.1 

6M 

2.0 
2.8 

2.6 
3.4 

3.0 
4.0 

3.6 

4.8 

4.0 
5.4 

4.6 
6.0 

5.0 
6.8 

5.6 

7.4 

6.0 
8.0 

6.6 

8.8 

7.0 
9.4 

7.6 
10.0 

8.0 
10.8 

7 

1.11 
2.6 

2.5 
3.2 

2.10 
3.10 

3.4 
4.6 

3.10 
5.2 

4.4 
5.9 

4.10 
6.5 

5.3 
7.1 

5.9 
7.9 

6.3 

8.4 

6.9 
9.0 

7.3 
9.8 

7.9 
10.4 

W4. 

2.4 
3.1 

2.9 
3.8 

3.3 
4.4 

3.8 
4.11 

4.2 
5.7 

4.8 
6.2 

5.1 
6.10 

5.7 
7.5 

6.0 

8.1 

6.6 
8.8 

7.0 
9.4 

7.5 
9.11 

iVi 

2.3 
3.0 

2.8 
3.7 

3.1 
4.2 

3.7 
4.9 

4.0 
5.5 

4.6 
6.0 

4.11 
6.7 

5.5 
7.2 

5.10 
7.10 

6.3 
8.5 

6.9 
9.0 

7.2 
9.7 

Wi 

2.2 
2.11 

2.7 
3.6 

3.0 
4.1 

3.6 

4.8 

3.11 
5.3 

4.4 
5.10 

4.9 
6.5 

5.3 
7.0 

5.8 
7.7 

6.1 

8.2 

6.6 
8.9 

7.0 
9.4 

8 

2.1 
2.9 

2.6 
3.4 

2.11 
3.11 

3.4 
4.6 

3.9 
5.1 

4.2 
5.7 

4.7 

6.2 

5.1 
6.9 

5.6 
7.4 

5.11 
7.11 

6.4 
8.5 

6.9 
9.0 

8^ 

2.4 
3.2 

2.9 
3.8 

3.2 
4.3 

3.7 
4.9 

3.11 
5.3 

4.4 
5.10 

4.9 
6.4 

5.2 
6.11 

5.7 
7.5 

5.11 
7.11 

6.4 
8.6 

9 

2.3 
3.0 

2.7 
3.6 

3.0 
4.0 

3.4 
4.6 

3.9 
5.0 

4.1 
5.6 

4.6 
6.0 

4.10 
6.6 

5.3 
7.0 

5.7 
7.6 

6.0 
8.0 

9^ 

2.1 
2.10 

2.6 
3.3 

2.10 
3.9 

3.2 
4.3 

3.6 
4.9 

3.11 
5.2 

4.3 

5.8 

4.7 
6.2 

5.0 

6.8 

5.4 
7.1 

5.8 
7.7 

10 

2.0 
2.8 

2.4 
3.2 

2.8 
3.7 

3.0 
4.0 

3.4 

4.6 

3.8 
4.11 

4.0 
5.5 

4.4 
5.10 

4.9 
6.4 

5.1 
6.9 

5.5 
7.2 

62 


THEATRES  AND  PICTURE  HOUSES 


Table  For  Film  Projection 

Distance  from  Film  to  Screen 


Equiv. 

Focus  in 
Inches 

85 

Ft. 

90 
Ft. 

95 
Ft. 

100 
Ft. 

105 

Ft. 

110 
Ft. 

115 

Ft. 

120 

Ft. 

125 

Ft. 

130 

Ft. 

135 
Ft. 

140 
Ft. 

145 
Ft. 

150 
Ft. 

2 

28.10 
38.6 

30.6 
40.9 

32.3 
43.0 

33.11 
45.3 

35.7 
47.6 

37.4 
49.9 

2ys 

27.1 
36.2 

28.9 
38.4 

30.4 
40.6 

31.11 
42.7 

33.6 
44.9 

35.1 
46.10 

36.8 
49.0 

2H 

25.7 
34.2 

27.1 
36.2 

28.7 
38.3 

30.2 
40.3 

31.8 
42.3 

33.2 
44.3 

34.8 
46.3 

36.2 
48.3 

37.8 
50.3 

23^ 

23.0 
30.9 

24.5 
32.7 

25.9 
34.5 

27.1 
36.2 

28.6 
38.0 

29.10 
39.10 

31.2 

41.8 

32.7 
43.5 

33.11 
45.3 

35.3 
47.1 

36.7 
48.11 

38.0 
50.8 

2% 

20.11 
28.0 

22.2 
29.7 

23.5 
31.3 

24.8 
32.11 

25.11 
34.7 

27.1 
36.2 

28.4 
37.10 

29.7 
39.6 

30.10 
41.2 

32.1 
42.9 

33.3 
44.5 

34.6 
46.1 

35.9 
47.9 

37.0 
49.4 

3 

19.2 
25.8 

20.4 
27.2 

21.6 

28.8 

22.  7 
30.2 

23.9 
31.8 

24.10 
33.2 

26.0 
34.8 

27.1 
36.2 

28.3 
37.9 

29.5 
39.3 

30.6 
40.9 

31.8 
42.3 

32.9 
43.9 

33.11 
45.3 

3M 

17.9 
23.8 

18.9 
25.0 

19.10 
26.5 

20.10 
27.10 

21.11 
29.3 

22.11 
30.7 

24.0 
32.0 

25.1 
33.5 

26.1 
34.10 

27.1 
36.2 

28.2 
37.7 

29.2 
39.0 

30.3 
40.5 

31.3 
41.9 

3y2 

16.5 
22.0 

17.5 
23.3 

18.5 
24.7 

19.4 
25.10 

20.4 
27.2 

21.4 
28.5 

22.3 
29.9 

23.3 
31.0 

24.3 
32.4 

25.2 
33.7 

26.2 
34.11 

27.1 
36.2 

28.1 
37.6 

29.1 
38.9 

Wi 

15.4 
20.6 

16.3 
21.8 

17.2 
22.11 

18.1 
24.1 

19.0 
25.4 

19.10 
26.6 

20.9 
27.9 

21.8 
28.11 

22.7 
30.2 

23.6 
31.4 

24.5 
32.7 

25.4 
33.9 

26.3 
35.0 

27.1 
36.2 

4 

14.5 
19.3 

15.3 
20.4 

16.1 
21.6 

16.11 
22.7 

17.9 
23.9 

18.8 
24.10 

19.6 
26.0 

20.4 
27.2 

21.2 
28.3 

22.0 
29.5 

22.10 
30.6 

23.9 
31.8 

24.7 
32.10 

25.4 
.33.11 

4M 

13.6 
18.1 

14.4 
19.2 

15.2 
20.3 

15.11 
21.3 

16.9 
22.4 

17.6 
23.5 

18.4 
24.6 

19.2 
25.6 

19.11 
26.7 

20.9 

27.8 

21.6 
28.9 

22.4 
29.10 

23.1 
30.10 

23.11 
31.11 

iy2 

12.9 
17.1 

13.6 
18.1 

14.3 
19.1 

15.0 
20.1 

15.10 
21.1 

16.7 
22.1 

17.4 
23.1 

18.1 
24.1 

18.10 
25.1 

19.7 
26.2 

20.4 
27.2 

21.1 

28.2 

21.10 
29.2 

22.7 
30.2 

i% 

12.1 
16.2 

12.10 
17.1 

13.6 
18.1 

14.3 
19.0 

15.0 
20.0 

15.8 
20.11 

16.5 
21.11 

17.1 
22.10 

17.10 
23.10 

18.6 
24.9 

19.3 
25.8 

20.0 

26.8 

20.8 
27.7 

21.5 

28.7 

5 

11.6 
15.4 

12.2 
16.3 

12.  10 
17.2 

13.6 
18.1 

14.3 
19.0 

14.11 
19.11 

15.7 
20.9 

16.3 
21.8 

16.11 
22.7 

17.7 
23.6 

18.3 
24.5 

19.0 
25.4 

19.8 
26.3 

20.4 
27.2 

5M 

10.11 
14.7 

11.7 
15.6 

12.3 
16.4 

12.11 
17.3 

13.6 
18.1 

14.2 
18.11 

14.10 
19.10 

15.6 
20.8 

16.1 
21.6 

16.9 
22.5 

17.5 
23.3 

18.1 
24.1 

18.9 
25.0 

19.4 
25.10 

5^ 

10.5 
14.0 

11.1 
14.9 

11.8 
15.7 

12.4 
16.5 

12.11 
17.3 

13.6 
18.1 

14.2 
18.11 

14.9 
19.9 

15.5 
20.7 

16.0 
21.4 

16.7 
22.2 

17.3 
22.11 

17.10 
23.10 

18.6 
24.8 

5M 

10.0 
13.4 

10.7 
14.2 

11.2 
14.11 

11.9 
15.9 

12.4 
16.6 

12.11 
17.3 

13.6 
18.1 

14.1 
18.10 

14.9 
19.8 

15.4 
20.5 

15.11 
21.3 

16.6 
22.0 

17.1 
22.10 

17.8 
23.7 

6 

9.7 
12.9 

10.2 
13.7 

10.9 
14.4 

11.3 
15.1 

11.10 
15.10 

12.5 
16.7 

13.0 
17.4 

13.6 
18.1 

14.1 
18.10 

14.8 
19.7 

15.3 
20.4 

15.10 
21.1 

16.4 
21.10 

16.11 
22.7 

6M 

9.2 
12.3 

9.9 
13.0 

10.3 
13.9 

10.9 
14.5 

11.4 
15.2 

11.11 
15.11 

12.5 
16.8 

13.0 
17.4 

13.6 
18.1 

14.1 
18.10 

14.7 
19.6 

15.2 
20.3 

15.9 
21.0 

16.3 
21.8 

6}^ 

8.10 
11.10 

9.4 
12.6 

9.11 
13.2 

10.5 
13.11 

10.11 
14.7 

11.5 
15.3 

12.0 
16.0 

12.6 
16.8 

13.0 
17.5 

13.6 

18.1 

14.1 
18.9 

14.7 
19.6 

15.1 
20.2 

15.7 
20.10 

6M 

8.6 
11.4 

9.0 
12.0 

9.6 
12.9 

10.0 
13.5 

10.6 
14.1 

11.0 
14.9 

11.6 
1.5.5 

12.0 
16.1 

12.6 
16.9 

13.0 
17.5 

13.6 
18.1 

14.0 
18.9 

14.6 
19.5 

15.0 
20.1 

7 

8.2 
11.0 

8.8 
11.7 

9.2 
12.3 

9.8 
12.11 

10.2 
13.7 

10.8 
14.2 

11.1 
14.10 

11.7 
15.6 

12.1 
16.2 

12.7 
16.9 

13.1 
17.5 

13.6 
18.1 

14.0 
18.9 

14.6 
19.4 

7M 

7.11 
10.7 

8.5 
11.2 

8.10 
11.10 

9.4 
12.5 

9.9 
13.1 

10.3 
13.8 

10.9 
14.4 

11.2 
14.11 

11.8 
15.7 

12.2 
16.2 

12.7 
16.10 

13.1 
17.5 

13.6 
18.1 

14.0 
18.8 

7^ 

7.8 
10.3 

8.1 
10.10 

8.7 
11.5 

9.0 
12.0 

9.6 
12.8 

9.11 
13.3 

10.4 
13.10 

10.10 
14.5 

11.3 
15.1 

11.9 
15.8 

12.2 
16.3 

12.8 
16.10 

13.1 
17.6 

13.6 
18.1 

7M 

7.5 
9.11 

7.10 
10.6 

8.3 
11.1 

8.9 
11.8 

9.2 
12.3 

9.7 
12.10 

10.0 
13.5 

10.6 
14.0 

10.11 
14.7 

11.4 
15.2 

11.9 
15.9 

12.3 
16.4 

12.8 
16.11 

13.1 
17.6 

8 

7.2 
9.7 

7.7 
10.2 

8.0 
10.9 

8.5 
11.3 

8.10 
11.10 

9.3 
12.5 

9.9 
13.0 

10.2 
13.7 

10.7 
14.1 

11.0 
14.8 

11.5 
15.3 

11.10 
15.10 

12.3 
16.5 

12.8 
16.11 

8J^ 

6.9 
9.0 

7.2 
9.7 

7.6 
10.1 

7.11 
10.7 

8.4 
11.2 

8.9 
11.8 

9.2 
12.3 

9.6 
12.9 

9.11 
13.3 

10.4 
13.10 

10.9 
14.4 

11.2 
14.11 

11.6 
15.5 

11.11 
15.11 

9 

6.4 
8.6 

6.9 
9.0 

7.1 
9.6 

7.6 
10.0 

7.11 
10.6 

8.3 
11.0 

8.8 
11.6 

9.0 
12.0 

9.5 
12.6 

9.9 
13.0 

10.2 
13.7 

10.6 
14.1 

10.11 

14.7 

11.3 
15.1 

9>^ 

6.0 

8.1 

6.5 
8.6 

6.9 
9.0 

7.1 
9.6 

7.6 
10.0 

7.10 
10.5 

8.2 
10.11 

8.6 
11.5 

8.11 
11.11 

9.3 

12.4 

9.7 
12.10 

10.0 
13.4 

10.4 
13.9 

10.8 
14.3 

10 

5.9 

7.8 

6.1 

8.1 

6.5 

8.7 

6.9 
9.0 

7.1 
9.6 

7.5 
9.11 

7.9 
10.4 

8.1 
10.10 

8.5 
11.3 

8.9 
11.9 

9.1 
12.2 

9.6 
12.8 

9.10 
13.1 

10.2 
13.7 

Table  furnished  bv  Nicholas  Power  Co. 


THEATRES  AND  PICTURE  HOUSES  63 

SCREENS 

In  vaudeville  houses  sometimes  used  for  pictures  and  not 
having  a  j^ermanent  screen  on  the  rear  vv^all,  a  portable  screen 
is  made  by  stretching  muslin  on  a  frame  of  wood  or  iron  with 
the  seams  running  horizontally  and  with  as  few  as  possible, 
and  then  painted  to  make  it  opaque  with  three  coats  of  flat 
white  paint  free  from  gloss.  If  sprinkled  while  wet  with 
aluminum  dust  or  powdered  glass,  it  will  give  a  metallic  finish 
and  will  greatly  improve  the  brilliancy  of  the  picture.  This 
curtain  may  be  hoisted  up  to  the  rigging  loft  out  of  the  way, 
or  if  it  is  rolled  it  should  be  properly  weighted  on  the  bottom 
and  stretched  smoothly  to  avoid  shadows  and  be  free  from  air 
currents  that  would  cause  wrinkles. 

Good  screens  are  made  by  plastering  directly  on  the  rear 
wall  of  stage  and  finished  with  a  white  coat  of  "Plaster  of 
Paris,"  but  must  be  carefully  troweled  and  free  from  streaks 
and  scratches.  It  may  then  be  painted  with  three  coats  of  flai 
zinc  white  and  powdered  if  desired.  Do  not  use  gloss  paint 
or  enamel. 

Notes — The  proportionate  size  of  a  screen  is  about  three- 
fourths  of  the  width  to  height.    (See  tables.) 

The  glass  screen  is  probably  the  best  type  of  screen  that 
may  be  used  for  picture  projection.  It  is  really  a  plate  glass 
mirror  with  silvered  or  gold  back  and  ground  surface.  The 
reflected  surface  adds  to  the  brilliance  and  clearness  of  the 
picture.  They  are  made  in  very  large  sizes,  but  are  sometimes 
made  in  two  parts,  but  the  joint  in  the  glass  shows  and  is  dis- 
pleasing on  that  account.  This  must  be  fixed  in  a  stationary 
position  and  be  free  from  dampness  that  would  injure  the 


64  THEATRES  AND  PICTURE  HOUSES 

silvering.  Mirror  screens  cannot  be  used  successfully  in  a 
house  over  50  ft.  wide. 

After  the  lights  have  been  turned  onto  the  screen,  giving 
the  size  of  the  picture,  paint  a  border  outside  of  the  picture 
all  around  with  dead  black.  This  improves  the  picture 
greatly. 

If  a  deep  border  or  shadow  box  be  built  around  the  screen, 
about  6  ft.  wide  or  more,  and  on  an  angle  of  about  45  degrees, 
so  as  not  to  obstruct  the  vision,  the  picture  will  be  further 
improved. 

LENSES  AND  FOCUSING 

Lenses  are  to-day  made  to  a  very  high  degree  of  perfection, 
and  are  made  for  almost  any  distance  and  for  any  size  screen. 
If  the  proper  lenses  are  used,  the  picture  will  be  free  from 
"ghosts"  or  color  fringes,  and  the  edges  of  the  pictures  will 
be  as  sharp  and  clear  as  the  center  of  the  picture. 

As  conditions  are  different  in  nearly  every  theatre  as  to 
"length  of  throw,"  the  position  of  the  machine  relative  to  the 
screen,  the  angle  of  the  axis  of  the  projecting  light,  etc.,  it  is 
necessary  in  ordering  a  lens  to  give  the  correct  distance  from 
the  machine  to  the  screen,  the  angle  of  the  center  line  of  light, 
if  not  directly  in  the  center  of  the  same,  and  also  the  angle  at 
one  side  or  the  other. 

At  a  given  distance  from  the  screen  the  shorter  the  focus 
of  the  lens  the  larger  the  picture  will  be,  and  the  longer  the 
focus  the  smaller  the  picture  will  be.  The  larger  the  picture 
is,  the  less  brilliancy  by  a  given  number  of  amperes,  and 
larger  pictures  are  coarser,  and  show  up  the  defects  more 
than  in  smaller  pictures.  For  the  average  house  a  medium 
size,  clean-cut  picture  is  the  best.    A  9  ft.  by  12  ft.  picture  is 


THEATRES  AND  PICTURE  HOUSES  65 

a  good  size.  A  12  ft.  x  16  ft.  is  as  large  as  is  generally  neces- 
sary, but  these  sizes  may  be  varied  either  larger  or  smaller 
if  the  conditions  require  it. 

From  the  following  tables  may  be  obtained : 

The  length  of  lens  required  to  give  a  desired  size  picture 
when  the  "throw"  is  known,  and 

The  size  of  picture  given  by  a  certain  lens  when  the 
"throw"  is  known,  and 

The  length  of  "throw"  required  to  obtain  a  desired  size 
picture  with  certain  lens.     (See  tables.) 


66  THEATRES  AND  PICTURE  HOUSES 

SCENERY 

The  tormentors  are  the  first  wings  set  on  each  side  of  the 
proscenium  opening,  and  are  set  5  ft.  back  from  the  fire  cur- 
tain line  and  consist  of  three  pieces,  two  folding  and  one 
flipper,  which  returns  to  the  proscenium  wall  to  hide  the 
view  from  the  opposite  boxes  and  the  front  seats  to  the  sides 
of  stage.  The  flipper  should  have  a  door.  The  tormentors 
should  extend  about  3  or  4  ft.  past  the  opening  toward  the 
center  of  the  stage  and  should  be  from  18  to  20  ft.  high,  and 
are  generally  painted  in  drapery  designs  to  harmonize  with 
the  overhead  grand  drapery  border.  The  grand  drapery 
border  which  comes  just  in  front  of  the  tormentor  is  arched 
out  in  the  center  for  a  space  of  about  6  ft.  on  the  average.  The 
ends  of  the  grand  drapery  should  extend  about  6  ft.  past  the 
edge  of  the  proscenium  arch  on  each  side  and  then  turn  for- 
ward to  the  proscenium  wall,  in  order  to  mask  the  open  awk- 
ward space  that  is  often  seen  from  the  first  row  of  the 
orchestra  seats.  The  valance  or  permanent  border  is  located 
just  inside  of  the  fire  curtain,  lapping  well  on  both  sides  of 
the  arch.  The  floor  of  the  stage  may  be  covered  with  either 
ground  cloth  or  a  baize  extending  about  6  ft.  on  each  side 
of  the  proscenium  arch.  This  ground  cloth  may  be  painted 
in  anihne  dye,  brown  on  one  side  and  green  on  the  other,  or 
it  may  be  brown  baize  on  one  side  and  green  on  the  other. 
The  average  stage  and  settings  are  made  in  a  number  of 
pieces,  from  9  to  16,  according  to  the  size  of  the  stage  to  be 
dressed. 


THEATRES  AND  PICTURE  HOUSES  67 

Modern  interiors  are  rarely  built  more  than  16  ft.  high, 
each  wing  being  18  ft.  x  5  ft.  9  in.  The  doors  and  arches 
may  be  painted  scenery,  but  in  the  more  elaborate  stage  set- 
tings they  are  built  with  raised  architraves  and  jambs,  show- 
ing a  reveal,  the  door  being  set  back  in  the  scene  about  12  in. 
deep.  Regular  solid  paneled  wood  doors  are  often  provided, 
as  the  modern  stage  calls  for  a  realism  that  is  not  found 
in  the  old-fashioned  canvas  door.  The  drops,  consisting  of 
the  picture  sheet,  conservatory,  olio  and  street  scene,  are 
made  of  the  same  size  as  the  width  of  the  proscenium  arch, 
and  are  then  hung  as  close  to  the  grand  drapery  border  as 
possible,  as  they  are  called  "Drops  in  One." 

They  are  used  only  for  light  acts  which  uses  the  5  or  6  ft. 
of  space  between  the  footlights  and  the  tormentors.  Various 
wings  and  set  pieces  are  used  to  make  the  sides  of  the  stage. 
The  height  of  these  drops  are  generally  a  little  more  than  the 
distance  from  the  stage  floor  to  the  underside  of  the  drapery 
border,  or  in  the  average  house  running  from  21  to  27  ft.  back 
of  the  "Drops  in  One."  The  object  of  the  "Drops  in  One" 
being  to  permit  changes  of  scenery  without  interfering  with 
the  procedure  of  the  play. 

Many  architects  and  theatre  owners  are  giving  close  atten- 
tion to  the  dressing  of  the  stage  for  moving  pictures.  The 
time  has  gone  by  when  the  public  was  satisfied  with  a  plain 
picture  sheet  painted  on  a  drop  or  with  a  mere  screen  with  a 
border  around  it,  and  are  becoming  more  elaborate  in  their 
stage  settings.  In  houses  where  the  stage  is  used  for  pictures 
only,  the  settings  can  be  made  of  a  permanent  nature  and  only 
need  be  disturbed  when  they  are  replaced  by  a  new  setting, 
perhaps  once  or  twice  a  year,  and  are  arranged  in  such  a  way 
as  to  allow  the  orchestra  to  be  seated  on  the  stage  in  front 


68  THEATRES  AND  PICTURE  HOUSES 

of  the  picture  screen,  also  allowing  for  the  appearance  of  con- 
cert singers  from  time  to  time  during  the  performance.  In 
this  case  the  screens  are  generally  set  considerably  above  the 
stage  floor,  which  in  turn  requires  more  height  under  the 
front  of  the  balcony  to  allow  a  good  view  from  the  rear  seats. 
There  is  an  unlimited  amount  of  suggestions  that  might  be 
offered  in  making  permanent  stage  settings  for  picture 
houses,  such  as  arches,  peristyles,  columns,  cornices,  etc.,  all 
of  which  may  be  built  of  wood  with  deep  recesses,  etc.,  and 
backed  up  with  scenery  representing  gardens,  distant  hills 
and  other  appropriate  designs.  A  fountain  with  running 
water  may  be  placed  in  the  center  of  the  stage  in  front  of  the 
orchestra;  also  statuary,  urns  and  flower  boxes  with  arti- 
ficial flowers,  etc.  The  wiring  effects  of  these  permanent  set- 
tings are  often  made  quite  elaborate  for  the  reason  that  they 
are  permanent  and,  being  once  adjusted,  the  Hghts  and  wiring 
do  not  have  to  be  disturbed.  It  is  well,  therefore,  for  the 
architect  to  bear  in  mind  in  planning  picture  houses  to  equip 
the  stage  with  a  gridiron,  fly-gallery,  etc.,  just  as  carefully 
as  he  would  for  a  stage  on  which  regular  plays  are  to  be 
produced. 


THEATRES  AND  PICTURE  HOUSES 


69 


AVERAGE  SCENERY  EQUIPMENT— LOCATION  AND 

PLACING 


FRONT  PIECES: 

Asbestos  Curtain 
Act  Drop  Curtain 
Proscenium  Border 
Grand  Drapery  Border 
Working  Drapery  Border 
Profile  Tormentor  Wings 
Picture  Sheet 
Conservatory  Drop 
Olio 
Street 

PALACE  INTERIOR: 

Back  Drop 

Cut  Drop 

Arched  Borders 

Profile  Wings  and  Flippers 

Leg  Drops  (instead  of  Borders 

and  Wings) 
Balustrades 

LIGHT  AND  DARK  FANCY 
INTERIORS: 

Center  Arch  Piece 
Arched  Piece  with  Double  Doors 
Bay  Wing 
Door  Wings 
Jogs 

Wings,  including  one  with  fire- 
place panel 
Set  Fancy  Backings 
Hanging  Fancy  Backing 
Borders  or  Ceiling 
Practical  Fireplace 
Fireplace  Backings 

PLAIN  CHAMBER  INTERIOR 

Arched  Piece 

Wings,  including  one  with  fire- 
place panel 
Door  Wings 


Window  Wing 

Bay  Window 

Jogs 

Set  Backings 

Hanging  Backing 

Borders  or  Ceihng 

Practical  Fireplace 

WOOD  EXTERIOR: 

Light  Wood  Drop 

Cut  Wood  Drops 

6  Profile  Wood  Wings  with 

Flippers 
3  Foliage  Borders 
Foliage  Leg  Drops 
Set  House  (with  practical  door 

and  window) 
Porch 

Platform  and  Steps 
Rustic  Cottage 
Cut  Tree  Tab 
Profile  Set  Tree 
Garden  Drop 
Profile  Vases 
Profile  Statues 
Rocky  Pass  Drop 
Horizon  Drop 

KITCHEN  INTERIOR: 

Window  Wings 
Window  Pieces 
Door  Wings 

Wings,  including  one  with  fire- 
place panels 
Jogs 

Set  Kitchen  Backings 
Borders 
Practical  Fireplace 

PRISON  INTERIOR  painted  on 
the  back  of  Kitchen  Interior 


70  THEATRES  AND  PICTURE  HOUSES 

THEATRE  FIRES 

Statistics  show  that  the  greatest  percentage  of  fires  in 
theatres  start  after  the  performance  is  over  and  the  house 
closed  for  the  night.  Many  fires,  of  course,  start  before  and 
during  the  performance,  but  on  account  of  the  watchfulness 
of  the  employees  the  fires  are  extinguished  before  any  mate- 
rial harm  is  done. 

Most  fires  start  on  the  stage,  in  the  dressing  rooms,  or  in 
the  boiler  room,  and  are  caused  by  cigarettes  thrown  around 
the  dressing  rooms  or  among  the  scenery,  defective  electric 
wiring,  leaky  gas  pipes,  carelessness  of  matches,  the  discharge 
of  firearms,  defective  flues  or  spontaneous  combustion  of 
waste  paper,  oil  or  paints. 

It  is  a  good  plan  to  keep  the  audience  informed  either  by 
programs,  signs,  slides  on  the  screens  or  by  announcements 
from  the  stage,  that  the  house  is  amply  provided  with  all 
means  of  safety,  such  as  fireproof  curtain,  fire  walls,  fire 
extinguishers,  watchmen  on  stage,  frequent  inspections,  etc. 
The  audience  will  appreciate  this. 

A  theatre  of  inferior  construction,  if  provided  with  ample 
exits  so  that  the  audience  may  emerge  quickly  and  safely  is 
more  desirable  than  a  thoroughly  fireproof  building  which 
lacks  those  features.  Remember  there  is  more  danger  in  a 
theatre  from  panic  than  from  fire. 


THEATRES  AND  PICTURE  HOUSES  71 

PANICS 

There  is  nothing  that  so  arouses  the  instinct  of  self -con- 
servation as  the  cry  of  "Fire,"  and  this  instinct  in  the  face  of 
great  danger  is  the  cause  of  panic.  Not  many  of  us  have 
actually  experienced  such  danger,  but  descriptions  and  illus- 
trations in  newspapers  and  periodicals  so  vividly  present  to 
our  imagination  the  details  of  past  fire  horrors  that  our  fear 
is  none  the  less  acute. 

This  universal  fear  has  resulted  in  the  spread  of  panic  and 
injury  and  death  of  persons  by  physical  violence  despite  the 
fact  that  the  fire  itself  was  small  and  not  destructive. 

Panics  are  more  to  be  feared  in  a  theatre  than  fire.  True, 
many  panics  are  caused  by  fire,  but  many  other  causes  also 
contribute.  A  panic  may  be  just  as  disastrous  in  a  fireproof 
building  as  in  a  cheaply  constructed  wooden  building. 

Panics  are  generally  caused  by  some  excited  or  highly 
nervous  person,  and  for  no  good  reason  other  than  sudden 
fright  caused  by  some  fire  scene  on  the  stage,  a  loud  noise, 
blowing  out  of  a  fuse,  the  darkening  of  the  house  without 
notice,  the  sudden  lighting  of  footlights,  the  noise  of  passing 
fire  engines  on  the  outside,  a  thunder  storm,  a  breaking  of  c. 
seat,  a  sudden  commotion  in  the  auditorium,  or  other  causes. 

When  a  panic  occurs,  some  one  is  bound  to  be  injured  or 
killed,  no  matter  how  many  exits  are  provided.  This  would 
even  apply  to  an  open  lot  or  park  where  a  great  crowd  was 
congregated.  Therefore,  if  the  usual  number  of  exits  are 
provided,  with  doors  opening  outward,  if  the  stairs  are  of 
proper  width  and  free  from  windows  or  too  many  turns, 
unobstructed  aisles,  seats  well  secured  to  floor,  proper  lights, 
etc.,  the  responsibility  of  the  house  ceases.  Get  the  audience 
accustomed  to  use  all  the  exits. 


72  THEATRES  AND  PICTURE  HOUSES 

FIRE  DRILLS 

Fire  drills  should  be  instituted  for  the  employees,  so  that 
in  case  of  emergency  each  man  will  know  the  duty  he  has  to 
perform. 

Fire  alarm  boxes  should  be  installed  at  various  parts  of 
the  house,  and  connected  to  the  central  station.  If  this  is  not 
done,  notice  should  be  posted,  and  each  man  should  be  in- 
structed as  to  the  location  of  the  nearest  fire  alarm  box, 
hydrants,  fire  extinguishers,  etc. 

BUILDING  CODES 

Most  cities  where  they  have  any  building  codes  at  all 
require  very  similar  conditions  relative  to  exits,  width  of 
stairs,  spacing  of  seats,  fireproof  construction,  open  courts 
on  each  side,  the  number  of  exits  on  each  side  from  each 
floor,  fire  curtains,  the  construction  of  the  flies  and  gridiron, 
the  stage,  skylight  and  vents,  dressing  rooms  in  a  separate 
section  separated  by  fireproof  walls,  boiler  rooms,  outside 
of  building,  standpipes  and  hose,  sprinkler  systems,  width  of 
aisles,  methods  of  controlling  lights,  stepping  off  balcony, 
construction  of  booth,  floor  loads,  false  arches  and  number  of 
seats  between  aisles. 

State  of  Ohio  laws  require  projection  machines  to  be 
hand  driven. 

Pennsylvania  laws  do  not  allow  balconies  in  picture 
theatres. 

Pennsylvania  laws  require  mechanical  ventilation. 

New  York  City  laws  admit  the  use  of  dressing  rooms  in 
the  fly  galleries. 


V.     LOEWS  NATIONAL  THEATRE,  149TH  ST.  AND  THIRD  AVENUE 

NEW  YORK  CITY 

H.  C.  Severance  and  Neville  &  Bagge,  Architects 


THEATRES  AND  PICTURE  HOUSES 


73 


TABLE  OF  COMPARATIVE  LAWS  OF  VARIOUS  CITIES 


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m 

Fireproof    construction 

where  capacity  exceeds .  . 

100 

500 

500 

500 

100 

100 

100 

500 

750 

500 

500 

Minimum  width  of  courts 

required  both  sides 

lO'-O" 

lO'-O" 

lO'-O" 
one 
side 

6'-0" 

6'-0" 
one 
side 

8'-0" 

6'-0" 

4'-0' 

7'-0' 

o'-O' 

Minimum  width  of  exits.  .  . 

o'-O" 

4'-0" 

5'-0" 

5'-0" 

4'-6" 

5'-0" 

5'-0" 

5'-0" 

5'-0" 

4'-0' 

Minimum  width  of  aisles  at 

start  with  seats  on  both 

sides 

S'-O" 

2'-6" 

4'-0" 

2'-6" 

3'-6" 

3'-0" 

2'-6" 

3'-0' 

2 '-6* 

3'-0» 

3'-0' 

Minimum    width    of   aisles 

with  seats  on  one  side.  .  . 

S'-O" 

2'-6'' 

3'-6" 

3'-0" 

3'-0" 

2'-6" 

2'-0" 

2'-6" 

2'-6" 

2'-6" 

2'-0' 

Spacing  of  seats  B  to  B .  .  .  . 

32" 

34" 

30" 

30" 

30" 

32" 

30" 

32" 

32" 

32' 

32' 

Width  of  seats  C  to  C 

20" 

19" 

20" 

.... 

Limit  of  pitch  of  floor ..... 

U"-i' 

i"-V' 

.... 

.... 

i'-V' 

.... 

.... 

.... 

Fire   curtains    required 

where  scenery  is  used .  .  . 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yea 

Yes 

Yes 

Boilers     permitted     under 

building 

No 

Yes 

Yes 

Yes 

Yes 

No 

No 

No 

No 

Yes 

No 

Stepping  of  balcony  not  to 

exceed 

21" 

.... 

21" 

14" 

22" 

.... 

21" 

21' 

21' 

Stage  skylight  and  vent  re- 

quired  

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Stand  pipes  and  sprinklers 

required 

Yes 
Yes 

Yes 
Yes 

Yes 
Yes 

Yes 
Yes 

Yes 
Yes 

Yes 
Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Yes 

Fire  extinguishers  required . 

Yes 

Live  loads  on  floors 

100 

100 

ibb' 

125 

.... 

100 

125 

90 

75 

125 

125 

Live  loads  on  stairs 

125 

150 

150 

100 

100 

Number    or   seats    allowed 

between  aisles 

13 

13 

13 

13 

13 

13 

13 

13 

13 

13 

13 

Number   of   exits   required 

on  each  side  of  each  floor. 

2 

2 

2 

1 

1 

1 

2 

1 

2 

2 

F.    P.    paint    required    on 

scenery  and  woodwork .  . 

Yes 

Yes 

Yes 

.... 

Yes 

Yes 

Yes 

.... 

Yes 

Cross  aisle  required  for  each 

bank  of 

15 

rows 

22 
rows 

20 
rows 

LIST  OF  STATES 

Having  established  laws  relative  to  theatres. 

Pennsylvania  Kansas 

Mississippi  California 

Illinois  Ohio 

Other  states  have  no  laws  at  all  or  have  the  matter  in 
the  hands  of  the  Factory  or  Labor  Commissioners,  Chief  of 
State  Police  or  similar  officials,  with  discretionary  powers, 
or  with  the  various  municipalities. 


74  THEATRES  AND  PICTURE  HOUSES 

DECORATIONS 

Plaster  relief  ornaments  need  no  particular  introduction 
to  architects  and  decorators  as  this  methods  has  been  in  use 
for  many  centuries  in  European  countries. 

Many  buildings  of  all  classes  in  the  country  are  richly 
ornamented  by  the  use  of  this  material.  It  is  made  in  plaster 
for  interior  and  of  cement  composition  for  exterior  work, 
and  is  one  of  the  most  pliable  and  least  expensive  methods 
of  decoration. 

The  various  concerns  that  make  this  material  employ 
experts  in  design  and  modeling  and  are  capable  of  executing 
any  style  desired  in  addition  to  the  multitude  of  stock 
designs. 

Fibrous  plaster  casts  are  generally  finished  on  a  backing 
of  cheesecloth  or  on  a  solid  background,  and  are  easily  applied. 

ARCHITECTURAL  TERRA  COTTA 

The  use  of  terra  cotta  for  exterior  decorative  features 
has  developed  wonderfully  in  this  country  in  the  last  fifty 
years.  It  can  be  worked  into  wonderful  designs,  is  fireproof 
and  has  many  beautiful  shades  such  as  grays,  buff,  reds, 
browns  in  warm  tones  and  also  in  mottled  and  spotted  effects, 
as  well  as  white  glazed.  It  is  much  cheaper  than  stone  for 
trimmings,  decorations,  belt  courses,  etc.,  as  many  pieces 
may  be  duplicated  from  one  mould,  is  easily  set  and  secured 
in  place,  being  light  in  weight  it  is  easily  handled  and 
does  not  require  heavy  hoisting  machinery.  All  pieces  are 
assembled  at  the  factory  and  fitted  and  numbered  according 
to  a  working  drawing. 


THEATRES  AND  PICTURE  HOUSES  75 

HEATING 

There  are  various  methods  of  heating  a  theatre,  and  while 
it  is  not  the  intention  of  the  author  to  go  into  elaborate  details 
on  the  matter  of  heating,  he  will,  however,  make  a  few  timely 
suggestions  as  a  guide  for  the  architect  to  follow. 

The  problem  of  heating  a  theatre  is  different  from  any 
other  type  of  building,  on  account  of  its  peculiar  features 
and  the  conditions  to  be  met.  Successful  and  proper  heating 
in  this  character  of  building  requires  great  care  and  skill  on 
the  part  of  the  designer.  There  are  more  draughts  in  a 
theatre  building  than  one  of  any  other  kind  on  account  of 
the  various  differences  in  heights,  slope  of  the  floors,  pockets 
under  balconies,  excessive  heights  of  stage,  etc. 

Large  theatres  are  generally  heated  by  mechanical 
methods  of  either  one  of  the  two  systems — the  upward  or 
the  downward  system. 

In  the  upward  system  the  heated  air  is  admitted  into  the 
room  through  numerous  small  openings  in  the  floor,  under 
the  seats,  and  similar  small  openings  along  the  balconies,  the 
heated  air  coming  from  plenum  chamber  in  the  basement. 
The  air  from  the  auditorium  is  then  drawn  out  at  the  ceiling 
through  exhaust  ventilators  operated  by  fans.  Direct  radi- 
ation is  placed  in  the  lobby,  stage  and  other  required 
places. 

The  downward  system  consists  of  admitting  the  heated 
air  at  the  high  point  of  the  room  through  ducts  in  the  walls 
and  drawing  it  out  at  the  low  point  near  the  floor,  similar 
to  the  system  used  in  schools,  and  these  flues  should  be  pro- 
vided with  exhaust  fans  or  else  have  coils  of  steam  pipes 
inserted  in  shafts  to  create  an  upward  draft.    The  house  may 


76  THEATRES  AND  PICTURE  HOUSES 

be  heated  more  quickly  if  a  circulating  system  is  adopted 
that  will  draw  the  cold  air  out  of  the  auditorium  at  the  lowest 
point  of  the  floor  and  back  into  the  heating  chamber,  with 
all  ventilators  closed.  This  will  allow  the  heat  to  enter  more 
readily  and  heat  the  house  more  quickly.  When  the 
audience  has  assembled  the  ventilator  should  be  opened  and 
the  lower  opening  closed.  Theatres  do  not  require  as  much 
heat  as  most  buildings  of  other  kinds,  as  the  people  enter 
from  the  colder  temperatures  outside  and  are  warmly 
dressed,  and  the  audience,  when  fully  assembled  and  the 
doors  are  closed,  will  give  off  bodily  heat  enough  to  raise 
the  temperature  almost  10  degrees. 

The  laws  and  ordinances  of  some  states  and  cities  specify 
the  kind  of  heating  and  ventilating  to  be  used  in  theatres 
and  state  the  amount  of  fresh  air  per  person  to  be  admitted 
per  hour.  An  expert  should  be  consulted  in  all  large  theatres 
in  order  to  get  the  best  results. 

Small  theatres  and  picture  houses  are  generally  heated 
by  a  direct  system  composed  of  radiators  or  coils  placed 
along  the  sides  and  sends  at  suitable  points.  (See  article  on 
"Ventilation.") 

After  the  location  of  the  boiler  room  has  been  determined 
as  to  its  availability  and  accessibility  for  getting  in  coal  and 
the  removal  of  ashes,  etc.,  and  the  proper  depth  established 
to  give  the  proper  pitch  for  the  feed  and  return  pipes,  the 
next  thing  to  be  considered  will  be  the  proper  distribution 
of  heat.  It  is  natural  to  assume  that  the  coldest  part  of  the 
house  will  be  the  lowest  part  of  the  floor  near  the  orchestra. 
It  is  here  that  all  draughts  caused  by  the  opening  of  the 
entrance  doors  will  center,  because  when  the  doors  are  con- 
tinually being  opened  as  the  people  assemble,  the  cold  air 


THEATRES  AND  PICTURE  HOUSES  77 

admitted  from  the  source  will  follow  along  the  floor  and 
settle  at  this  low  point.  Therefore,  this  point  is  to  be  pro- 
vided for  to  a  certain  extent  by  placing  radiation  along  the 
curtain  wall  under  the  stage  in  the  orchestra  pit  if  there 
be  one,  but  not  enough  to  make  the  orchestra  uncomfortable. 

If  the  lobby  and  the  rear  of  the  auditorium  near  the 
entrance  is  amply  provided  with  heat  it  will  greatly  tend  to 
guard  against  the  cold  from  going  to  the  orchestra  pit. 
Therefore,  provide  plenty  of  heat  at  the  entrance. 

When  the  curtain  rises  at  the  opening  of  the  performance 
there  is  generally  a  cold  draught  that  comes  from  the  stage 
and  strikes  the  audience  in  the  face,  so  that  it  is  necessary 
to  provide  against  this.  It  is  not  necessary  to  heat  the  stage 
to  any  great  extent  to  overcome  this,  because  the  heat  would 
rise  to  the  roof  anyway  and  thus  drive  the  cold  air  down. 
A  coil  along  the  back  wall  on  the  two  side  walls  and  a  coil 
along  the  front  of  the  fly  galleries  is  desirable.  The  actors 
do  not  care  for  an  excessive  amount  of  heat  except  in  dress- 
ing rooms  and  such  rooms  as  may  be  occupied  by  the  stage 
hands,  but  to  take  care  of  the  cold  draught,  as  before  stated, 
it  is  well  to  provide  a  flue  or  shaft,  say  24"x24'',  or  some 
similar  area  at  each  side  of  the  proscenium  arch  and  back 
of  the  curtain,  with  an  opening  into  the  flue  near  the  floor 
of  stage,  this  flue  to  extend  to  the  upper  part  of  the  stage  or 
within  a  few  feet  of  the  roof.  Each  flue  is  to  be  equipped 
with  a  coil  of  heating  pipes  above  the  bottom  opening.  This 
will  draw  the  cold  air  off  the  stage  floor  and  keep  it  in  circu- 
lation without  allowing  it  to  accumulate  near  the  curtain 
ready  to  strike  the  audience  when  the  curtain  rises.  The 
plan  will  produce  wonderful  results,  and  is  well  worth  the 
little  extra  expense  in  construction.    The  flue,  of  course, 


78  THEATRES  AND  PICTURE  HOUSES 

should  be  fireproof.  The  size  of  coils  will  depend  on  the 
size  and  height  of  the  stage,  and  other  conditions. 

Coils  so  inserted  is  by  no  means  lost  radiation  because  it 
is  doing  much  to  temper  the  atmosphere  on  the  stage,  and  it 
is  better  to  make  the  radiation  ample  rather  than  under- 
estimate it. 

The  balcony  and  gallery  generally  require  little  or  no 
heat  except  in  special  cases,  because  the  heat  rising  from  the' 
auditorium  will  take  care  of  the  upper  part  of  the  house. 

•  HEATING  NOTES 

No  floor  registers  should  be  allowed  as  they  collect  dust. 

No  radiator  should  be  located  in  the  aisle  that  will 
obstruct  passage.  They  may  be  recessed  or  set  on  walls 
above  the  shoulder. 

VENTILATION 

It  is  not  the  intention  of  the  author  to  treat  extensively 
on  the  matter  of  ventilation  as  that  would  require  a  book  in 
itself,  and  is  a  subject  that  is  well  handled  by  ventilating 
experts,  but  I  will  state  briefly  that  some  suitable  means  of 
ventilation  should  be  provided. 

Of  course,  the  more  elaborate  and  costly  the  house  the 
more  may  be  expended  on  mechanical  methods  of  ventilation 

if  desired  by  the  owners. 

One  thing  to  avoid,  though,  is  not  to  make  the  openings  in 
the  ceiling  of  the  auditorium  greater  in  area  than  the  area 
of  the  stage  ventilator  as  it  will  have  a  tendency  to  draw  the 
fire  and  smoke  from  the  stage  into  the  auditorium.    The 


THEATRES  AND  PICTURE  HOUSES  79 

stage  ventilator,  being  higher,  will,  all  things  being  equal, 
draw  smoke  and  fire  that  way.  All  ventilators  should  be 
under  control  at  convenient  points  on  the  stage  to  be  operated 
according  to  conditions  and  location  of  fire. 

Artificial  means  of  theatre  ventilation  are  not  compulsory 
in  any  state  as  far  as  the  knowledge  of  the  author  is  con- 
cerned, provided  there  are  windows  or  ceiling  ventilators 
and  fans  sufficient  to  do  the  work. 

Several  of  the  larger  cities  have  ordinances  concerning 
ventilation.  There  are  a  number  of  ways  to  provide  artificial 
ventilation  without  requiring  special  mechanical  methods  and 
to  do  the  work  nicely  and  cost  practically  nothing  to  install. 
The  sound  of  the  human  voice  on  the  stage  is  intended  to 
travel  to  all  parts  of  the  house ;  therefore,  do  not  design  any 
system  of  ventilation  that  will  obstruct  the  sound  travel  by 
downward  or  cross  currents  of  air,  but  on  the  other  hand  it 
should  be  designed  to  assist  the  voice.  Thus  it  is  obvious 
that  the  logical  point  from  which  to  exhaust  the  foul  air  is 
at  the  highest  point  of  the  ceiling  and  in  the  rear  over  the 
balcony.  Any  ventilating  system  acting  to  the  contrary  will 
have  more  or  less  effect  on  the  acoustics. 

The  spaces  or  pockets  under  the  balconies  should  be  venti- 
lated to  provide  against  dead  air. 


80  THEATRES  AND  PICTURE  HOUSES 

SYSTEMS  OF  VENTILATION 

The  so-called  "Natural  System"  of  ventilation  is  in  reality 
no  system  at  all. 

For  proper  and  effectual  ventilation  some  system  must  be 
designed  to  supply  the  required  amount  of  fresh  air  and  to 
remove  the  vitiated  air,  no  matter  what  the  direction  of  the 
wind  or  the  condition  of  the  weather. 

Aspiration  shafts  with  steam  coils  may  be  used  in 
smaller  theatres  with  fair  results  if  all  conditions  are  favor- 
able. 

The  proper  system  of  ventilation  is  one  that  will  give  the 
requisite  supply  of  fresh  air  to  any  and  all  parts  of  the  audi- 
torium at  all  times  when  needed,  and  in  uniform  and  regu- 
lated quantities,  and  can  be  obtained  only  by  properly 
designed  mechanical  or  forced  methods  by  means  of  a  blower 
or  fan  and  similar  methods  used  for  the  exhaust.  The 
ventilating  system  should  be  made  to  work  in  conjunction 
with  the  system  of  heating,  particularly  in  northern  cHmates. 
(See  article  on  "Heating.") 

There  are  two  methods  of  mechanical  ventilation,  viz., 
the  "Exhaust  System"  and  the  "Plenum  System." 

The  "Exhaust  System"  requires  a  fan  to  withdraw  the 
foul  air  from  the  room,  and  of  course  means  must  be  provided 
for  admitting  an  equal  amount  of  air  that  is  exhausted. 

The  "Plenum  System"  forces  the  air  into  the  room  at 
any  desired  temperature,  and  in  such  quantities  as  may  be 
desired,  and  may  be  controlled  at  will.  Provision  must  also 
be  made  for  the  discharge  of  an  equal  amount  of  vitiated  air. 
The  air,  before  it  is  admitted  into  the  room,  is  heated  to  the 
proper  temperature  in  cold  weather  so  that  this  makes  a 


THEATRES  AND  PICTURE  HOUSES  81 

combination  of  heating  and  ventilation.  The  fresh  air 
supply  should  come  from  the  outside  at  a  considerable  eleva- 
tion from  the  ground,  and  where  possible  should  be  taken 
from  above  the  roof  so  as  to  avoid  dirt  and  dust  being  drawn 
into  the  heating  chamber. 

There  are  several  systems  by  which  the  heating  and  venti- 
lating apparatus  may  be  controlled  automatically,  and  all 
first-class  theatres  should  be  so  equipped. 

The  "Blower  System"  may  be  used  in  warm  weather  for 
cooling  the  house. 


82  THEATRES  AND  PICTURE  HOUSES 

LIGHTING 

Great  advancement  has  been  made  in  the  methods  and 
principles  of  lighting  theatres  in  recent  years. 

Proper  lighting  of  theatres  requires  very  careful  and 
thoughtful  planning,  particularly  on  the  stage. 

Electric  lighting  is,  of  course,  the  only  proper  method  to 
be  considered,  and  if  the  electric  current  is  not  available  in 
the  locality  of  the  theatre,  a  special  lighting  plant  should  be 
installed.  This  method  of  service  is  resorted  to  very  often, 
even  in  cities  where  the  public  service  wires  pass  the  site  of 
the  theatre. 

There  are  three  systems  of  distributing  light,  and  are 
known  as  the  direct,  the  indirect  and  the  semi-indirect. 

The  "direct  system"  is  objectionable  on  account  of  its 
glaring  effects,  and  does  not  produce  the  desired  results,  often 
casting  deep  shadows  where  they  are  not  desired,  and  dis- 
torts the  colors  and  decorations,  and  producing  undesirable 
conditions. 

The  theory  that  direct  lighting  gives  100  per  cent  of  light 
has  been  proven  by  experts  to  be  erroneous. 

The  "indirect  system"  is  an  improvement  over  the  direct 
system,  but  is  an  extreme  reverse  of  the  former,  and  has  its 
faults  as  well.  It  is  true  the  light  it  diffuses  is  not  glaring  and 
hardish,  but  it  is  not  bright  and  radiant  enough  to  be  used 
for  practicable  lighting  purposes,  except  under  certain  con- 
ditions. 

The  indirect  system  consists  generally  of  inverted  bowls 
and  containers  of  metal  or  other  opaque  materials  so  that  the 
rays  of  light  are  not  seen  directly  by  the  audience,  but  are 
reflected  from  the  container  directly  to  the  ceiling  of  walls 


THEATRES  AND  PICTURE  HOUSES  83 

from  whence  it  must  be  reflected  to  the  lower  portions  of 
the  auditorium.  The  ceihng,  therefore,  must  be  of  light  tints 
in  order  not  to  absorb  the  light.  This  is  not  always  desirable 
or  suitable  to  the  general  decorative  or  color  schemes 
employed  in  theatres.  Even  if  the  ceiling  is  of  the  most 
advantageous  color,  indirect  lighting  fails  to  light  the  room 
with  equal  diffusion,  but  often  causes  the  room  to  appear 
brilliantly  lighted  in  its  upper  portions,  but  only  partially 
lighted  below. 

The  indirect  lighting  system  usually  requires  about  50  per 
cent  more  lighting  power  than  the  direct  or  semi-indirect 
systems. 

The  "semi-indirect"  lighting  system,  which  in  most  cases 
is  best  for  theatres,  consists  of  translucent  inverted  bowls  or 
containers,  allowing  a  portion  of  the  light  to  filter  through 
in  a  downward  direction  as  well  as  reflecting  upon  the  ceiling. 

Thus  the  upper  portion  of  the  room  is  lighted  just  as  well 
as  with  the  indirect  lighting,  while  in  the  lower  portion  of 
the  room  the  gloom  observed  in  indirect  lighting  is  dispelled 
by  the  soft,  white  rays  that  filter  through  the  translucent 
glass  container,  giving  a  perfect,  equal  distribution  of  light, 
producing  all  the  good  features  of  both  the  direct  and  the 
indirect  systems,  but  ehminating  all  of  their  evil  effects. 

It  is  therefore  incumbent  upon  the  architect  to  take  into 
consideration  the  practical  requirements  of  the  manner  and 
method  of  lighting,  and  to  adopt  such  system  as  will  give 
the  best  results  for  the  particular  case  in  hand,  using  per- 
haps a  combination  of  the  three  systems  mentioned,  all  of 
which  will  be  governed  to  a  large  extent  by  the  character  of 
the  ceiling  construction,  design  and  decorative  features.  It 
would  be  wise,  therefore,  if  any  complicated  features  arise. 


84  THEATRES  AND  PICTURE  HOUSES 

or  any  departure  from  the  usual  practice  is  contemplated,  for 
the  architect  to  take  expert  advice. 

Separate  circuits  should  be  provided  for  all  exit  lights,  also 
for  the  auditorium  and  stage,  and  a  No.  6  gauge  vv^ire  for  the 
projection  machine. 

Extra  fuses  for  all  circuits  should  be  constantly  on  hand. 


THEATRES  AND  PICTURE  HOUSES 


85 


STAGE  LIGHTING 

The  proi^er  lighting  of  the  stage  is  one  of  the  most  impor- 
tant features  of  theatre  equipment,  and  requires  more  careful 
thought  and  study  than  any  other  similar  problem.  It  calls 
for  the  proper  number  and  location  of  lights,  according  to 
the  character  of  the  house  and  the  plays  to  be  presented.  The 
equipment  consists  of  footlights,  border  lights,  striplights, 
stage  pockets,  dimmers,  and  the  equipment  for  furnishing 
the  electrical  effects,  such  as  passing  clouds,  waves  of  the  sea, 
lightning  flashes,  etc.  A  perfectly  illuminated  scene  is  pleas- 
ing to  the  eye,  and  will  call  forth  applause  from  the  audience, 
on  the  rising  of  the  curtain,  and  is  the  prime  factor  in  con- 
tributing to  the  successful  consummation  of  the  play.  To  get 
these  results  the  best  and  latest  improved  devices  should  be 
used,  and  an  expert  consulted  in  laying  it  out. 

All  lights  in  the  auditorium,  as  well  as  those  on  the  stage, 
are  controlled  from  the  stage  switchboard.  The  switchboard 
should  be  of  a  dead  face  type  as  shown  in  the  cut;  that  is, 


stage  Switchboard,  Metropolitan  Opera  House,  New  York 


86  THEATRES  AND  PICTURE  HOUSES 

there  should  be  no  live  terminals  on  the  face  of  the  board. 
Below  the  switchboard  the  fuses  for  the  different  circuits  are 
generally  placed.  The  switchboard  should  be  at  least  3  ft. 
away  from  the  wall,  so  that  the  electrician  may  have  easy 
access  to  the  rear  of  the  board. 

The  switches  on  the  switchboard  should  be  placed  in 
gangs,  one  master  switch  to  control  the  lights  on  the  entire 
stage,  one  master  switch  to  control  all  the  lights  in  the  audi- 
torium. The  stage  switch  controls  the  different  master  gang 
switches,  one  for  each  color,  and  these  again  control  the 
switches  for  the  different  circuits,  also  the  switches  for  right 
and  left  incandescent  stage  pockets  and  special  switches  for 
the  arc  pockets.  From  the  switchboard  the  different  circuits 
must  be  run  through  iron  conduits. 

A  bank  of  dimmers  controlling  all  different  colors  in 
border  lights,  footlights,  proscenium  lights,  incandescent 
stage  pockets,  etc.,  is  generally  placed  above  the  stage  switch- 
board. This  is  furnished  in  one  or  more  rows,  as  the  occasion 
requires  for  the  number  of  lamps  to  be  dimmed.  A  dimmer 
plate  should  not  have  less  than  eighty  steps  to  give  a  gradual 
change  of  light. 

The  footlights  trough  should  be  straight  from  end  to  end. 
If  the  trough  is  curved  the  occupants  of  the  boxes  on  the 
sides  are  annoyed  by  the  glare  of  the  footlights. 


Fig.  22  Fig-.  24 

For  footlights  I  recommend  the  semi-flush  type  (Fig.  22), 
which  allows  four  40-watt  lamps  to  the  foot  in  a  single  row. 
Figure  24  shows  footlight  with  a  double  row  of  Hghts,  allow- 


THEATRES  AND  PICTURE  HOUSES 


87 


ing  eight  40-watt  lamps  to  the  foot.  There  are  generally 
three  colors  used  in  footlights. 

A  space  of  2  to  3  ft.  should  be  left  between  proscenium 

arch   and  footlights.     Figure   26   shows  an   inverted  type 

footlight.    The  new  type  of  footlights  for  halls,  high  schools, 

■ , ..  ■  etc.,  is  a  disappearing  type.    When  not  in 

use  this  footlight  is  flush  with  the  stage 

L^L^-^^^^  floor  and  hidden  from  view. 

^^^-  26  Border  lights  are  composed  of  movable 

metal  troughs  equipped  with  electric  lights,  formed  and  con- 
structed so  as  to  throw  the  light  downward  and  backward  on 
the  stage,  but  not  seen  from  the  audience.  The  first  border 
light  is  placed  in  front  of  the  grand  drapery  and  behind  the 
valance  or  permanent  border.  Other  border  lights  are  set 
from  6  ft.  to  7  ft.  apart. 

Four  to  six  border  lights  are  generally  used  for  illumi- 
nating the  stage  and  these  should  be  at  least  2  feet  longer 
than  the  proscenium  opening,  with  the  exception  of  the  first 
border  light,  which  should  be  2  ft.  smaller  than  the  pros- 
cenium opening.  This  border  is  generally 
used  for  interior  sets.  The  universal  type 
(Figs.  27  and  29)  are  generally  used.  Four 
60-watt  lamps  can  be  placed  to  the  foot  in  a 
single  row  in  this  type.  They  are  made  of 
galvanized  iron,  completely  wired  to  cable 
splicing  box  on  border  and  furnished  with  !• 
in.  pipe  for  hanging.  They  are  suspended 
from  the  gridiron  and  made  to  raise  and  lower 
at  will.  Three  colors  are  generally  used  in  border  lights, 
white,  red  and  blue  and  occasionally  a  fourth  color,  amber, 
is  used. 


Fig.  27 


88 


THEATRES  AND  PICTURE  HOUSES 


Fig.  28 


A  flexible  electric  cable  having  the  number  of 
wires  required  runs  from  the  border  light  to 
the  stage  switchboard.    The  border  light  cable 
is  held  by  a  border  light  cable  support 
(Fig.  28)  to  the  border  light. 

The  border  light  cradles  are  for  rais- 
ing and  lowering  the  cables,  so  that  it 
will  not  interfere  with  the  side  borders. 

The  stage  should  be  provided  with  one  arc  and  one  or  more 
incandescent  stage  pockets  in  each  entrance,  right  and  left 

stage.  The  arc  pocket  has  50  amperes 
capacity,  and  the  incandescent  pockets  25 
amperes.  These  are  marked  on  the 
face  of  the  cover  with  the  proper 
rating.  Arc  pockets  should  be  pro- 
vided on  the  arc  light  bridge,  right 
and  left  proscenium  opening,  also 
two  to  four  arc  pockets,  auto  type, 
should  be  installed  on  each  fly  gal- 
lery. On  the  front  of  the  balcony  a 
panel  pocket  with  four  outlets  is  of 
great  advantage  to  traveling  companies,  for 
spot  lights,  also  as  a  connection  for  a  port- 
able motion  picture  machine,  if  desired.  All  pockets  are  con 
nected  direct  to  the  stage  switchboard. 

The  stage  should  also  be  provided  with  several 
bunch  lights  and  striplights.  The  striplights  are 
located  on  the  sides  of  the  proscenium  arch,  back  far 
enough  not  to  be  seen  from  the  audience.  They  are 
set  in  enameled  metal  troughs  at  a  proper  angle  to 
thrpw  the  light  toward  the  center  of  the  stage. 

The  striplights  start  about  6  ft.  above  the  stage 
floor  and  extend  to  the  top  of  the  proscenium  opening. 


Fig.  29 


Fig.  30 


iina 


They  are  equipped  with  white  and  colored  lights. 


VI.    RECiENT   THEATRE,   116TH   ST.  AND   SEVENTH  AVE.,  NEW   YORK   CITY 

Thomas   W.    Lamb,   Architect 


VII.     ELSMERE   THEATRE,  NEW  YORK  CITY. 
Shampan  &  Shampan,  Architects 


THEATRES  AND  PICTURE  HOUSES  89 

SPRINKLER  SYSTEM  OF  FIRE  PROTECTION 

The  stage  of  any  theatre  where  scenery  is  used  should  be 
protected  from  fire  by  the  use  of  an  automatic  sprinkler 
system.  Many  disastrous  fires  have  been  prevented  by  the 
fact  that  sprinklers  had  been  installed. 

The  sprinkler  heads  should  be  located  under  the  stage 
roof,  gridiron,  fly  galleries  and  under  the  stage,  in  the  scene 
docks,  paint  shop,  dressing  rooms,  carpenter  shop,  property 
rooms,  boiler  room,  etc.  It  is  not  necessary  to  install 
sprinklers  over  the  auditorium  ceiling  unless  that  space  is 
used  for  some  purpose  that  requires  protection. 

There  are  three  systems  of  sprinklers  used,  viz.: 

1.  The  ordinary  wet  pipe  system ; 

2.  The  non-freezing  wet  pipe  system,  and 

3.  The  dry  pipe  system. 

The  ordinary  wet  pipe  system  is  the  one  most  generally 
used.  It  is,  of  course,  subject  to  freezing  if  the  building  in 
which  it  is  installed  is  not  constantly  heated.  The  non- 
freezing  wet  pipe  system  has  an  open  water  tank  and  a  small 
air-tight  iron  tank  to  feed  the  pipes,  which  are  filled  with  a 
non-freezing  and  non-corrosive  liquid.  The  tanks  are  con- 
nected by  a  syphon,  so  that  the  system  is  supplied  automati- 
cally when  a  head  opens. 

The  dry  pipe  system  is  desirable  in  places  where  the  pipes 
are  liable  to  freeze.  This  system  requires  air  pumps  and 
frequent  watching  by  an  attendant  and  is  expensive  to  main- 
tain on  that  account. 

Theatres  generally  are  sufficiently  heated  at  all  times  to 
insure  the  non-freezing  of  the  water  in  the  pipes,  therefore, 
the  wet  system  is  most  generally  used.     It  is  the  purpose  of 


90  THEATRES  AND  PICTURE  HOUSES 

an  automatic  sprinkler  system  to  extinguish  the  fire  in  its 
incipiency,  through  the  agency  of  the  fire  itself.  A  fire,  if 
started  opens  up  only  a  Hmited  number  of  sprinkler  heads; 
hence,  there  is  no  useless  waste  of  water,  no  unnecessary 
damage,  and  the  water  discharged  is  concentrated  in  the 
spot  just  where  wanted. 

A  wet-pipe  sprinkler  system  comprises  a  wooden  Cooper's 
tank,  placed  on  the  highest  part  of  the  stage  roof,  and  of  a 
capacity  corresponding  to  the  number  of  sprinkler-heads. 
The  installation  for  a  theatre  requires  generally  from  100  to 
300  sprinkler-heads,  suitably  distributed;  several  li/^,  2  and 
4-inch  risers ;  a  separate  shut-off  valve  for  each  floor  or  tier ; 
a  21/4  to  3-inch  riser  from  the  pump  to  the  tank,  a  watchman's 
automatic  fire-alarm  with  large  gongs — one  on  the  stage,  the 
other  on  the  outside  of  the  building ;  a  low-water  alarm  with 
indicator  in  the  pump  or  engine-room;  one  or  more  3-inch 
pipes  running  from  the  main  riser  to  the  outside  of  the  build- 
ing, to  form  a  fire-department  connection  (for  auxiliary  sup- 
ply), which  is  provided  with  check-valves. 

It  is  essential  that  all  sprinkler-systems  should  have  two 
independent  approved  sources  of  supply,  of  which  one  should 
be  always  turned  on.  Speaking  generally,  the  supply  to  the 
sprinkler  system  may  be  either  from  a  roof  tank  or  from 
reservoir  pressure,  or  from  direct  pressure  from  public  street 
mains,  or  from  special  sprinkler  fire-pumps,  or  from  fire- 
department  steam-engines  by  means  of  the  outside  fire- 
department  connections. 

In  many  of  our  large  cities  the  street  main  supply  is  out 
of  the  question,  because  the  available  pressure  is  insufficient. 
While  it  is  perfectly  feasible  to  use  a  rotary  or  direct-acting 
fire-pump  to  supply  the  system,  this  would,  in  theatres  where 


THEATRES  AND  PICTURE  HOUSES  91 

one  fire-pump  is  already  provided  to  supply  the  stand-pipe 
fire-valves,  require  a  second  pump  of  large  capacity,  for,  as 
already  stated,  the  fire  pump  described  heretofore,  is  only 
to  be  used  for  the  fire-valves  and  hose  streams,  and  to  keep 
the  fire-tank  on  the  roof  filled.  It  is  therefore  usual  to  choose 
for  theatres  the  fifth  combination,  viz.,  to  supply  the  sprinkler 
system  primarily  from  a  large  roof  tank,  always  kept  full  of 
water,  and  as  an  auxiliary  supply  to  provide  one  or  several 
outside  fire-department  connections,  which  enable  the  fire 
department,  in  case  of  a  theatre  fire,  to  connect  a  steam  fire- 
engine  and  to  keep  the  sprinkler  system  on  the  stage  sup- 
plied in  case  the  roof  tank  has  discharged  its  whole  con- 
tents. 

Sprinkler-heads  must  be  able  to  sustain  a  pressure  of  300 
lb.  per  square  inch  without  leaking  and  they  must  be  capable 
of  operating  under  five  pounds  of  water-pressure. 

All  sprinkler-heads  are  provided  with  distributors  or 
deflectors,  which  divide  the  stream  of  water,  as  it  strikes 
them,  into  a  heavy  shower,  which  thoroughly  drenches  the 
fire.  These  deflectors  are  stationary  in  some  sprinklers,  in 
others  they  are  revolving  or  oscillating.  The  sprinkler-heads 
are  placed  either  above  or  below  the  distributing  pipes,  the 
former  position  being  slightly  preferable  because  it  secures 
perfect  drainage  and  prevents  the  lodgment  of  rust,  dirt  or 
sediment  in  the  sprinklers. 

The  ordinary  fusible  solder-joint,  which  opens  at  155  to 
160  degrees  Fahrenheit,  is  not  adapted  for  boiler  rooms  or 
drying  rooms,  owing  to  the  sometimes  excessive  heat  in  these 
rooms,  and  if  automatic-sprinkler  protection  is  desired  in 
such  places,  a  different  alloy  or  solder  having  a  high  degree 
of  fusibility  should  be  used. 


92  THEATRES  AND  PICTURE  HOUSES 

The  number  of  sprinklers  necessary  for  an  equipment 
depends  upon  the  areas  to  be  protected. 

Sprinkler-heads  must  be  set  at  no  greater  distance  than 
10  feet  apart,  and  5  feet  away  from  walls  or  partitions,  so 
that  they  protect  an  area  of  10  feet  in  diameter.  The  rules 
of  the  New  York  Board  of  Fire  Underwriters  call  for  all 
portions  of  a  building  to  be  equipped  by  sprinklers,  unless 
especially  exempted  because  of  being  entirely  fireproof  and 
containing  only  non-combustible  materials,  as,  for  instance, 
the  loft  over  the  auditorium;  but  in  the  stage  portion  of  a 
theatre  it  is  important  that  the  space  between  ceiling  or  rig- 
ging-loft and  the  stage  roof  be  also  protected.  The  largest 
number  of  sprinklers  in  a  theatre  is  required  to  protect  the 
rigging-loft  and  under  it  to  protect  the  stage. 

All  exposed  sprinkler-heads  must  have  guards  placed 
around  them  to  protect  them  from  damage,  and  this  in 
theatres  must  be  particularly  observed  in  the  case  of 
sprinklers  placed  under  the  rigging  loft  and  the  fly-galleries, 
with  which  sprinklers  some  of  the  hoisting  machinery  for  the 
curtain  or  the  borders  and  drops  may  come  in  contact. 

Nothing  should  be  permitted  to  be  hung  from  sprinkler- 
pipes,  nor  should  the  sprinkler-heads  be  painted,  bronzed,  or 
covered  with  whitewash. 

The  roof  tank,  supplying  the  sprinkler  system,  should  be 
placed  on  the  highest  part  of  the  stage  roof,  and  must  be 
elevated  so  that  its  bottom  will  be  at  least  12  feet  above  the 
level  of  the  highest  sprinkler.  This  location  of  the  fire-tank 
on  the  roof  is  open  to  the  objection  that  in  case  of  fire  the 
tank  will  fall  with  the  collapse  of  the  roof  or  the  bearing 
walls  and  may  thus  become  a  source  of  danger  to  the  fire- 
men. 


THEATRES  AND  PICTURE  HOUSES  93 

Where  it  can  be  done,  it  is  preferable  to  build  a  separate 
tank  tower. 

The  roof  tank  must  be  of  large  capacity,  so  as  to  be  able 
to  supply  the  sprinklers  opened  during  a  fire  for  a  certain 
length  of  time. 

Exposed  exterior  walls  may  also  be  protected  by  a 
perforated  sprinkler  system  that  will  allow  a  sheet  of  water 
to  pour  down  over  the  face  of  the  wall. 


94  THEATRES  AND  PICTURE  HOUSES 

FIRE  STAND-PIPES 

At  suitable  points  in  the  four  subdivisions  of  a  theatre, 
fire  stand-pipes,  with  fire-valves  and  hose  attached,  should  be 
placed.  The  largest  number  of  fire-valves  is  required  on  or 
about  the  various  levels  of  the  stage  where  a  fire  is  most 
likely  to  break  out.  There  should  also  be  fire  stand-pipes  in 
the  auditorium,  in  the  corridors  and  lobbies,  and  near  the 
dressing  rooms,  and  they  should  be  so  distributed  that  the 
remotest  corner  can  be  reached  by  the  fire-hose  at  each  of 
the  outlets. 

The  number  of  stand-pipes  required  and  their  position 
depend,  therefore,  upon  the  size  and  area  of  the  theatre  and 
upon  the  length  of  the  fire-hose  attached  to  the  fire-valves. 
The  New  York  City  Building  Law  requires  that  one  stand- 
pipe  be  provided  on  each  side  of  the  stage,  with  outlets  on 
every  floor  and  gallery,  from  the  understage  to  the  rigging- 
loft  ;  one  stand-pipe  on  each  side  of  the  auditorium,  with  out- 
lets in  each  tier  from  the  cellar  to  the  gallery;  one  in  the 
property-room,  and  one  in  the  carpenter's  shop.  Cases  are 
known  where  fires  have  started  on  the  stage  during  the  per- 
formance and  extinguished  by  the  automatic  sprinkler,  with- 
out the  audience  knowing  of  it,  or  without  any  interruption 
of  the  play. 

ENGINE  ROOM 

Where  the  theatre  contains  an  engine  room,  for 
machinery,  etc.,  it  must  be  separated  by  suitable  walls  and 
properly  located  so  as  to  be  free  from  dirt  and  dust  from  the 
coal  rooms,  and  should  have  outside  windows,  toilet  rooms, 
etc.,  and  connected  by  telephone  and  signals  from  the  Man- 
ager's Office. 


THEATRES  AND  PICTURE  HOUSES  95 

FAN  ROOM 

If  fans  and  blowers  are  to  be  installed,  the  fan  room 
should  be  of  ample  height  and  located  so  as  to  accommodate 
the  ducts  for  the  distribution  of  heat,  and  also  to  receive  the 
fresh  air  from  the  outside. 

ADVERTISING  SPACE 

As  the  general  thing,  patrons  are  adverse  to  having  to  sit 
and  look  at  a  promiscuous  lot  of  advertisements  thrown  on 
the  screen. 

They  pay  admission  to  be  entertained. 

This  objection  is  not  so  marked  in  small  towns  or  country 
theatres. 

The  manager  should  advertise  himself  and  his  future 
plays. 

It  is  permissible  to  have  a  drop  curtain  lowered  before 
the  performance  and  between  same  with  a  few  well-selected 
ads,  as  the  people  do  not  like  to  sit  and  look  at  a  blank  white 
screen  when  there  is  nothing  going  on. 

As  the  theatre  is  patronized  by  the  same  people  each 
week,  the  ads  should  be  changed  weekly  and  should  be 
attractive  and  brief,  but  while  you  are  getting  some  annual 
revenue  from  your  paid  advertisements,  you  will  please  your 
audience  better  and  get  closer  to  them  by  advertising  your 
own  policies,  programs,  etc.  Talk  to  your  patrons  by  the 
use  of  slides  on  matters  of  interest  to  them  and  yourself. 


96  THEATRES  AND  PICTURE  HOUSES 

ELECTRIC  WIRING 

[Extracts  from  the  Rules  of  the  National  Board  of  Fire  Underivritersi 

THEATRES  AND  MOVING  PICTURE  WIRING 

All  wiring,  apparatus,  etc.,  not  specifically  covered  by 
special  rules  herein  given  must  conform  to  the  standard  rules 
and  requirements  of  the  National  Electrical  Code,  and  the 
term  "theatre"  shall  mean  a  building  or  that  part  of  a  build- 
ing regularly  or  frequently  used  for  dramatic,  operatic,  mov- 
ing picture  or  other  performances  or  shows,  or  which  has  a 
stage  for  such  performances  used  with  scenery  or  other  stage 
appliances. 

SERVICES 

Where  supply  may  be  obtained  from  two  separate  street 
mains,  two  separate  and  distinct  services  must  be  installed, 
one  service  to  be  of  sufficient  capacity  to  supply  current  for 
the  entire  equipment  of  theatre,  while  the  other  service  must 
be  at  least  of  sufficient  capacity  to  supply  current  for  all 
emergency  lights,  where  supply  feed  for  emergency  lights 
must  be  taken  from  a  point  on  the  street  side  of  main  service 
fuses.  By  "emergency  lights"  are  meant  exit  lights  and  all 
lights  in  lobbies,  stairways,  corridors  and  other  portions  of 
theatres  to  which  the  public  have  access,  which  are  normally 
kept  lighted  during  the  performance. 

Where  source  of  supply  is  an  isolated  plant  within  the 
building,  an  auxiliary  service  of  at  least  sufficient  capacity 


THEATRES  AND  PICTURE  HOUSES  97 

to  supply  all  emergenc}^  lights  must  be  installed  from  some 
outside  source,  or  a  suitable  storage  battery  within  the  prem- 
ises may  be  considered  the  equivalent  of  such  service. 

STAGE 

All  permanent  construction  on  stage  side  of  proscenium 
v^all,  except  as  hereinafter  provided,  must  be  approved  con- 
duit or  armored  cable. 

FOOTLIGHTS 

Must  be  wired  in  approved  conduit  or  armored  cable,  each 
lamp  receptacle  being  enclosed  with  an  approved  outlet  box, 
or  the  lamp  receptacles  may  be  mounted  in  an  iron  or  steel 
box,  metal  to  be  a  thickness  not  less  than  No.  20  U.  S.  sheet 
metal  gauge,  treated  to  prevent  oxidization,  so  constructed 
as  to  enclose  all  the  wires.  Wires  to  be  soldered  to  lug  of 
receptacles. 

Must  be  wired  that  no  set  of  lamps  requiring  more  than 
1320  watts  nor  more  than  24  receptacles  shall  be  dependent 
upon  one  cut-out. 

BORDERS  AND  PROSCENIUM  SIDELIGHTS 

1.  Must  be  constructed  of  steel  to  a  thickness  not  less  than 
No.  20  U.  S.  sheet  metal  gauge,  treated  to  prevent  oxidization, 
be  suitably  stayed  and  supported,  and  so  designed  that 
flanges  of  reflectors  will  protect  lamps. 

2.  Must  be  so  wired  that  no  set  of  lamps  requiring  more 
than  1320  watts  nor  more  than  24  receptacles  shall  be  depend- 
ent upon  one  cut-out. 


98  THEATRES  AND  PICTURE  HOUSES 

3.  Must  be  wired  in  approved  conduit  or  armored  cable, 
each  lamp  receptacle  to  be  enclosed  within  an  approved  outlet 
box,  or  the  lamp  receptacle  may  be  mounted  in  an  iron  or 
steel  box,  metal  to  be  a  thickness  not  less  than  No.  20  U.  S. 
sheet  metal  gauge,  treated  to  prevent  oxidization,  so  con- 
structed as  to  enclose  all  wires.  Wires  to  be  soldered  to  lugs 
of  receptacles. 

4.  Must  be  provided  with  suitable  guards  to  prevent 
scenery  or  other  combustible  material  coming  in  contact  with 
lamps. 

5.  Cables  for  borders  must  be  of  approved  type  and  suit- 
ably supported;  conduit  construction  must  be  used  from 
switchboard  to  point  where  cables  must  be  flexible  to  permit 
of  the  raising  and  lowering  of  border. 

6.  For  the  wiring  of  the  border  proper  wire  with  approved 
slow-burning  insulation  must  be  used. 

7.  Borders  must  be  suitably  suspended,  and  if  a  wire  rope 
is  used  same  must  be  insulated  by  at  least  one  strain  insulator 
inserted  at  the  border. 


STAGE  AND  GALLERY  POCKETS 

Must  be  of  approved  type,  controlled  from  switchboard, 
each  receptacle  to  be  of  not  less  than  35  ampere  rating  for 
arc  lamps  nor  15  amperes  for  incandescent  lamps  and  each 
receptacle  to  be  wired  to  its  full  capacity.  Arc  pockets  to  be 
wired  with  wire  not  smaller  than  No.  6  B.  &  S.  gauge  and 
incandescent  pockets  with  not  less  than  No.  12  B.  &  S.  gauge. 

Plugs  for  arcs  and  incandescent  pockets  must  not  be  inter- 
changeable. 


THEATRES  AND  PICTURE  HOUSES  99 

SCENE  DOCKS 

Where  lamps  are  installed  in  scene  docks,  they  must  be 
located  and  installed  that  they  will  not  be  liable  to  mechanical 
injury. 

CURTAIN  MOTORS    . 

Must  be  of  ironclad  type  and  installed  so  as  to  conform  to 
the  requirements  of  the  National  Electrical  Code. 

CONTROL  FOR  STAGE  FLUES 

In  cases  where  dampers  are  released  by  an  electric  device, 
the  electric  circuit  operating  same  must  be  normally  closed. 

Magnet  operating  damper  must  be  wound  to  take  full 
voltage  of  circuit  by  which  it  is  supplied,  using  no  resistance 
device,  and  must  not  heat  more  than  normal  for  apparatus 
of  similar  construction.  It  must  be  located  in  the  loft  above 
the  scenery,  and  be  installed  in  a  suitable  iron  box  with  a 
tight,  self-closing  door. 

Such  dampers  must  be  controlled  by  at  least  two  standard 
single  pole  switches  mounted  within  approved  iron  boxes 
provided  with  self-closing  doors  without  lock  or  latch,  and 
located,  one  at  the  electrician's  station  and  others  as  desig- 
nated by  the  inspection  department  having  jurisdiction. 

DRESSING  ROOMS 

Must  be  wired  in  approved  conduit  or  armored  cable.  All 
pendant  lights  must  be  equipped  with  approved  reinforced 
cord,  armored  cable  or  steel  armored  flexible  cord. 

All  lamps  must  be  provided  with  approved  guards. 


100  THEATRES  AND  PICTURE  HOUSES 

PORTABLE  EQUIPMENT 

Arc  lamps  used  f of  stage  effects  must  conform  to  the  fol- 
lowing requirements : 

1.  Must  be  constructed  entirely  of  metal  except  where 
the  use  of  approved  insulating  material  is  necessary. 

2.  Must  be  substantially  constructed,  and  so  designed  as 
to  provide  for  proper  ventilation,  and  to  prevent  sparks  being 
emitted  from  lamps  when  same  are  in  operation,  and  mica 
must  be  used  for  frame  insulation. 

3.  Front  opening  must  be  provided  with  a  self-closing 
hinged  door  frame,  in  which  wire  gauze  or  glass  must  be 
inserted,  except  in  the  case  of  lens  lamps,  where  the  front 
may  be  stationary,  and  a  solid  door  be  provided  on  back  or 
side. 

4.  Must  be  so  constructed  that  neither  carbons  nor  live 
parts  will  be  brought  into  contact  with  metal  of  hood  during 
operation,  and  arc  lamp  frames  and  standards  must  be  so 
installed  and  protected  as  to  prevent  the  liability  of  their 
being  grounded. 

5.  Switch  on  standard  must  be  so  constructed  that  acci- 
dental contact  with  any  live  portion  of  same  will  be  impossible. 

6.  All  stranded  connections  in  lamp  and  at  switch  and 
rheostats  must  be  provided  with  approved  lugs. 

7.  Rheostats  must  be  plainly  marked  with  their  rated 
capacity  in  volts  and  amperes,  and,  if  mounted  on  standard, 
must  be  raised  to  a  height  of  at  least  3  in.  above  floor.  Resist- 
ance must  be  enclosed  in  a  substantial  and  properly  venti- 
lated metal  case  which  affords  a  clearance  of  at  least  1  in. 
between  case  and  resistance  element. 


I 


THEATRES  AND  PICTURE  HOUSES  101 

8.  A  competent  operator  must  be  in  charge  of  each  arc 
lamp,  except  that  one  operator  may  have  charge  of  two  lamps 
when  they  are  not  more  than  10  ft.  apart,  and  are  so  located 
that  he  can  properly  watch  and  care  for  both  lamps. 


BUNCHES 

Must  be  substantially  constructed  of  metal  and  must  not 
contain  any  exposed  wiring. 

The  cable  feeding  same  must  be  bushed  in  an  approved 
manner  where  passing  through  the  metal,  and  must  be  prop- 
erly secured  to  prevent  any  mechanical  strain  from  coming 
on  the  connection. 


STRIPS 

Must  be  constructed  of  steel  of  a  thickness  not  less  than 
No.  20  U.  S.  sheet  metal  gauge,  treated  to  prevent  oxidization, 
and  suitably  stayed  and  supported  and  so  designed  that 
flanges  will  protect  lamps. 

Cable  must  be  bushed  in  a  suitable  manner  where  passing 
through  the  metal,  and  must  be  properly  secured  to  prevent 
serious  mechanical  strain  from  coming  on  the  connections. 

Must  be  wired  in  approved  conduit  or  armored  cable,  each 
lamp  receptacle  being  enclosed  within  an  approved  outlet  box, 
or  the  lamp  receptacle  may  be  mounted  in  an  iron  or  steel 
box,  metal  to  be  of  a  thickness  not  less  than  No.  20  U.  S.  sheet 
metal  gauge,  treated  to  prevent  oxidization,  so  constructed 
as  to  enclose  all  wires.  Wires  to  be  soldered  to  lugs  of 
receptacles. 


102  THEATRES  AND  PICTURE  HOUSES 

PORTABLE  PLUGGING  BOXES 

Must  be  constructed  so  that  no  current  carrying  part  will 
be  exposed  and  each  receptacle  must  be  protected  by  approved 
fuses  mounted  on  slate  or  marble  bases  and  enclosed  in  a  fire- 
proof cabinet  equipped  with  self-closing  doors.  Each  recep- 
tacle must  be  constructed  to  carry  30  amperes  without  undue 
heating,  and  the  bus-bars  must  have  a  carrying  capacity 
equivalent  to  the  current  required  for  the  total  number  of 
receptacles,  and  approved  lugs  must  be  provided  for  the  con- 
nection of  the  master  cable. 


PIN  PLUG  CONDUCTORS 

Must  be  of  an  approved  type,  so  installed  that  the  "female" 
part  of  plug  will  be  on  live  end  of  cable,  and  must  be  so  con- 
structed that  tension  on  the  cable  will  not  cause  serious 
mechanical  strain  on  the  connections. 


PORTABLE  CONDUCTORS 

Flexible  conductors  used  from  receptacles  to  arc  lamps, 
bunches  and  other  portable  equipments  must  be  approved 
stage  cable  except  that  for  the  purpose  of  feeding  a  stand 
lamp  under  conditions  where  conductors  are  not  liable  to 
severe  mechanical  injury,  an  approved  reinforced  cord  may 
be  used,  provided  cut-out  designed  to  protect  same  is  not 
fused  over  six  amperes  capacity. 


THEATRES  AND  PICTURE  HOUSES  103 

LIGHTS  ON  SCENERY 

Where  brackets  are  used  they  must  be  wired  entirely  on 
the  inside,  fixture  stem  must  come  through  the  back  of  the 
scenery,  and  end  of  stem  be  properly  bushed. 

STRING  OR  FESTOONED  LIGHTS 

Wiring  of  same  must  be  of  approved  type,  joints  to  be 
properly  made,  soldered  and  taped,  and  staggered  where 
practicable. 

Where  lamps  are  used  in  lanterns  or  similar  devices, 
approved  guards  must  be  employed. 

SPECIAL  ELECTRICAL  EFFECTS 

Where  devices  are  used  for  producing  special  effects,  such 
as  lightning,  waterfalls,  etc.,  the  apparatus  must  be  so  con- 
structed and  located  that  flames,  sparks,  etc..  resulting  from 
the  operation  cannot  come  in  contact  with  combustible 
material. 


104  THEATRES  AND  PICTURE  HOUSES 

AUDITORIUM 

All  wiring  must  be  installed  in  approved  conduit,  metal 
moulding  or  armored  cable. 

Exit  lights  must  not  have  more  than  one  set  of  fuses 
betv^een  same  and  service  fuses. 

Exit  lights  and  all  lights  in  halls,  corridors  or  any  other 
part  of  the  building  used  by  audience,  except  the  general  audi- 
torium lighting,  must  be  fed  independently  of  the  stage  light- 
ing, and  must  be  controlled  only  from  the  lobby  or  other  con- 
venient place  in  front  of  the  house.  All  fuses  must  be 
enclosed  in  approved  cabinets. 

MOVING  PICTURE  EQUIPMENTS 

1.  ARC  LAMP  USED  AS  A  PART  OF  A  MOVING 
PICTURE  MACHINE— Must  be  constructed,  so  far  as  prac- 
ticable, similar  to  arc  lamps  of  theatres,  and  wiring  to  same 
must  not  be  of  less  capacity  than  No.  6  M.  &  S.  gauge. 

2.  RHEOSTATS— Must  conform  to  rheostat  require- 
ments for  theatre  arcs. 

3.  TOP  AND  BOTTOM  OF  REELS— Must  be  enclosed  in 
steel  boxes  or  magazines,  each  with  an  opening  of  approved 
construction  at  bottom  or  top,  so  arranged  as  not  to  permit 
entrance  of  flame  to  magazine. 

No  solder  is  to  be  used  in  the  construction  of  these  maga- 
zines. The  front  side  of  each  magazine  must  consist  of  a 
door  spring-hinged  and  swinging  horizontally,  and  be  pro- 
vided with  a  substantial  latch. 

4.  AUTOMATIC  SHUTTER— Must  be  provided  and  must 
be  so  constructed  as  to  shield  the  film  from  the  beam  of  Hght 


VIII.     ELTINGE'S   THEATRE,  NEW  YORK  CITY 
Thomas   W.   Lamb,  Architect 


i 


THEATRES  AND  PICTURE  HOUSES  105 

whenever  the  film  is  not  running  at  operating  speed.    Shutter 
must  be  permanently  attached  to  the  gate  frame. 

5.  EXTRA  FILMS— Must  be  kept  in  individual  metal 
boxes  equipped  with  tight-fitting  covers. 

6.  MACHINE  ENCLOSURE— Machine  must  be  placed 
in  an  enclosure  or  house  made  of  suitable  fireproof  material ; 
must  be  properly  ventilated,  properly  lighted  and  large 
enough  for  operator  to  walk  freely  on  either  side  of  or  back 
of  machine.  All  openings  into  this  booth  must  be  arranged  so 
as  to  be  entirely  closed  by  doors  or  shutters  constructed  of 
the  same  or  equally  good  fire-resisting  material  as  the  booth 
itself.  Doors  or  covers  must  be  arranged  so  as  to  be  held 
normally  closed  by  spring  hinges  or  equivalent  devices. 

8.  REELS  CONTAINING  FILMS  UNDER  EXAMINA- 
TION OR  IN  PROCESS  OF  REWINDING— Must  be 
enclosed  in  magazines  or  approved  metal  boxes  similar  to 
those  required  for  films  in  operation,  and  not  more  than  2  ft. 
of  film  shall  be  exposed  in  booth. 

HOW  ELECTRICITY  IS  MEASURED 

The  measurement  of  electrical  energy  is  as  accurate  as  the 
measurement  of  any  tangible  substance.  The  various  elec- 
trical meters  are  arranged  to  show  the  amount  of  electrical 
energy  in  a  circuit  through  one  or  more  of  the  effects  of  the 
current,  such  as  the  heating,  chemical  or  magnetic  effects. 

The  "volt"  is  the  practical  unit  of  electrical  pressure  cor- 
responding to  steam  or  water  pressure.  The  ordinary  pres- 
sure on  incandescent  lamps  is  about  110  volts. 

The  "ohm"  is  the  practical  unit  of  resistance  and  cor- 
responds to  mechanical  friction,  such  as  resistance  to  the  flow 
of  water  in  water  pipes. 


106  THEATRES  AND  PICTURE  HOUSES 

The  "ampere"  is  the  practical  unit  of  "rate  of  flew,"  such 
as  water  flowing  at  the  rate  of  a  certain  number  of  gallons 
per  minute. 

The  "watt"  is  the  practical  unit  of  power  and  is  obtained 
by  multiplying  the  number  of  volts  of  pressure  by  the  number 
of  amperes  flowing.  746  watts  equals  one  electrical  horse- 
power and  equals  33,000  foot-pounds. 

One  kilowatt  hour  is  the  practical  unit  of  measurement 
and  is  equal  to  1,000  watts  of  energy  used  for  one  hour. 

The  ordinary  16-candlepower  carbon  filament  lamp  con- 
sumes slightly  more  than  50  watts,  or  about  31/10  watts  per 
candlepower. 

The  new  Tungsten  consumes  energy  at  the  rate  of  only 
11/4  watts  per  candlepower. 


i 


THEATRES  AND  PICTURE  HOUSES  107 

EXTRACT  N.  Y.  CITY  BUILDING  LAWS 

WALLS 

Fireproof  walls  shall  separate  the  auditorium  from  the 
entrance  vestibule,  lobby  or  other  rooms. 

DRESSING  ROOMS 

These  may  be  placed  in  the  fly  galleries,  with  proper  exits 
to  the  outside,  but  are  to  be  surrounded  with  fireproof  walls. 

No  dressing  rooms  allowed  below  the  street  level. 

No  dressing  room  windows  shall  have  fixed  sash,  or  have 
grills  or  bars  over  same. 

FIRE  APPLIANCES 

Standpipes  required  on  each  side  of  stage  and  auditorium 
with  openings  on  each  floor,  equipped  with  one  length  of 
21/2  in.  hose,  ready  for  use. 

Sprinklers  supported  from  roof  tanks  to  be  placed  on 
stage,  dressing  rooms,  carpenter  shop,  paint  room  and  prop- 
erty rooms. 

Water  casks  and  buckets  shall  be  placed  at  suitable  places 
on  stage ;  also  fire  extinguishers. 

HEATING  PLANT 

The  boiler  room  shall  be  located  outside  of  the  building 
and  enclosed  with  masonry  walls,  with  fireproof  ceilings, 
windows  and  doors. 


108  THEATRES  AND  PICTURE  HOUSES 

LIGHTING 

All  parts  of  theatre  shall  be  adequately  lighted  and  remain 
so  till  the  audience  has  left  the  premises.  All  lights  in  corri- 
dors, lobbies,  or  other  parts  of  the  building  except  the  audi- 
torium shall  be  controlled  by  switches  located  only  in  each 
of  said  corridors,  etc. 

MEANS  OF  EGRESS 

1.  EXITS  TO  STREETS.  Every  theatre  accommodat- 
ing 300  persons  shall  have  at  least  two  exits ;  when  accommo- 
dating 500  persons,  at  least  three  exits  shall  be  provided; 
these  exits  not  referring  to  or  including  the  exits  to  the  open 
court  at  the  side  of  the  theatre.  Every  such  building  shall 
have  at  least  one  front  on  the  street,  and  in  such  front  there 
shall  be  suitable  means  of  entrance  and  exit  for  the  audience, 
not  less  than  25  ft.  in  width.  The  entrance  of  the  main  front 
of  the  building  shall  not  be  on  a  higher  level  from  the  side- 
walk than  four  steps,  unless  approved  by  the  superintendent 
of  buildings.  Each  exit  shall  be  at  least  5  ft.  in  width  in 
the  clear,  as  hereinbefore  prescribed  in  this  chapter.  All  of 
said  doors  shall  open  outwardly  and  shall  be  fastened  with 
movable  bolts,  the  bolts  to  be  kept  drawn  during  perform- 
ances. 

2.  EXITS  TO  COURTS.  In  addition  to  the  aforesaid 
entrances  and  exits  on  the  street,  there  shall  be  reserved  for 
service  in  case  of  an  emergency  an  open  court  or  space  in 
the  rear  and  on  the  side  not  bordering  on  the  street,  where 
said  building  is  located  on  a  corner  lot;  and  in  the  rear  and 
on  both  sides  of  said  building  where  there  is  but  one  frontage 


THEATRES  AND  PICTURE  HOUSES  109 

on  the  street  as  hereinafter  provided.  The  width  of  such 
open  court  or  courts  shall  be  not  less  than  10  ft.  where  the 
seating  capacity  is  not  over  1000  people;  above  1000  and  not 
more  than  1800  people,  12  ft.  in  width,  and  above  1800  people, 
14  ft.  in  width.  Said  open  court  or  courts  shall  extend  the 
full  length  and  height  of  the  building  and  across  on  each  side 
and  rear  thereof  where  its  side  or  sides  does  not  abut  on  a 
street  or  alley,  and  shall  be  of  the  same  width  at  all  points, 
and  exits  hereafter  specified  shall  lead  into  such  open  courts. 
From  the  auditorium  opening  into  the  said  open  courts  or  on 
the  side  street  there  shall  be  not  less  than  two  exits  on  each 
side  in  each  tier  from  and  including  the  parquet  and  each 
gallery.  The  said  open  courts  and  corridors  shall  not  be 
used  for  storage  purposes,  or  for  any  purposes  whatsoever, 
except  for  exit  and  entrance  from  and  to  the  auditorium 
and  stage,  and  must  be  kept  free  and  clear  during 
performances. 

3.  DOORWAYS  OF  EXITS.  Doorways  of  exit  or 
entrance  for  the  use  of  the  public  shall  be  not  less  than  5  ft. 
in  width,  and  for  every  additional  100  persons  or  portions 
thereof  to  be  accommodated  in  excess  of  500,  an  aggregate  of 
20  in.  additional  exit  width  must  be  allowed.  All  doors  of  exit 
or  entrance  shall  open  outwardly  and  be  hung  to  swing  in 
such  a  manner  as  not  to  become  an  obstruction  in  a  passage 
or  corridor,  and  no  such  doors  shall  be  closed  and  locked 
during  any  representation  or  when  the  building  is  open  to 
the  public. 

4.  FOYERS.  LOBBIES  AND  CORRIDORS.  The  foyers, 
lobbies,  corridors,  passages  and  rooms  for  the  use  of  the 
audience,  not  including  aisles  spaced  between  seats,  shall  on 
the  first  or  main  floor,  where  the  seating  capacity  exceeds 


110  THEATRES  AND  PICTURE  HOUSES 

500,  be  at  least  16  ft.  clear  back  of  the  last  row  of  seats,  and 
on  each  balcony  or  gallery  at  least  12  ft.  clear  of  the  last  row 
of  seats.  The  level  of  said  corridors  at  the  front  entrance 
to  the  building  shall  be  not  greater  than  one  step  above  the 
level  of  the  sidewalk  where  they  begin  at  the  street  entrance. 
During  the  performance  the  doors  or  gates  in  the  corridors 
shall  be  kept  open  by  proper  fastenings ;  at  other  times  they 
may  be  closed  and  fastened  by  movable  bolts  or  blocks. 

5.  AISLES.  All  aisles  on  the  respective  floors  of  the 
auditorium  shall  be  not  less  than  3  ft.  wide  where  they  begin, 
and  shall  be  increased  in  width  toward  the  exits  in  a  ratio  of 
114  in.  to  5  running  ft. 

6.  GRADIENTS.  Gradients  or  inclined  planes  shall  be 
employed  instead  of  steps  where  possible  to  overcome  slight 
differences  of  level  in  or  between  aisles,  corridors  and 
passages.  To  overcome  any  difference  of  level  in  and 
between  courts,  corridors,  lobbies,  passages  and  aisles  on  the 
ground  floor,  gradients  shall  be  employed  of  not  over  1  ft. 
in  12  ft.,  with  no  perpendicular  rises. 

7.  GALLERY  EXITS.  Distinct  and  separate  places  of 
exit  and  entrance  shall  be  provided  for  each  gallery  above 
the  first.  A  common  place  of  exit  and  entrance  may  serve 
for  the  main  floor  of  the  auditorium  and  the  first  gallery, 
provided  its  capacity  be  equal  to  the  aggregate  capacity  of 
the  outlets  from  the  main  floor  and  the  said  gallery.  No 
passage  leading  to  any  stairway  communicating  with  any 
entrance  or  exit  shall  be  less  than  4  ft.  in  width  in  any  part 
thereof.  From  the  auditorium  opening  into  the  said  open 
courts  or  on  the  side  street,  there  shall  be  not  less  than  two 
exits  on  each  side  in  each  tier  from  and  including  the 
parquet  and  each  and  every  gallery. 


THEATRES  AND  PICTURE  HOUSES  111 

8.  STAIRCASES  TO  GALLERIES.  Where  the  seating 
capacity  is  for  more  than  1000  people,  there  shall  be  at  least 
two  independent  staircases,  with  direct  exterior  outlets  pro- 
vided for  each  gallery  in  the  auditorium  where  there  are  not 
more  than  two  galleries,  and  the  same  shall  be  located  on 
opposite  side  of  said  galleries.  Where  there  are  more  than 
two  galleries,  one  or  more  additional  staircases  shall  be  pro- 
vided, the  outlets  from  which  shall  communicate  directly  with 
the  principal  exit  or  other  exterior  outlets.  All  such  stair- 
cases shall  be  of  width  proportionate  to  the  seating  capacity, 
as  elsewhere  herein  prescribed. 

Where  the  seating  capacity  is  for  1000  people,  or  less, 
two  direct  lines  of  staircases  only  shall  be  required,  located 
on  opposite  sides  of  the  galleries,  and  in  both  cases  shall 
extend  from  the  sidewalk  level  to  the  upper  gallery,  with 
outlets  from  each  gallery  to  each  of  said  staircases.  All 
inside  stairways  leading  to  the  upper  galleries  of  the  audi- 
torium shall  be  inclosed  on  both  sides  with  walls  of  fireproof 
materials.  Stairs  leading  to  the  first  or  lower  gallery  may 
be  left  open  on  one  side,  in  which  case  they  shall  be  con- 
structed as  herein  provided  for  similar  stairs  leading  from 
the  entrance  hall  to  the  main  floor  of  the  auditorium.  But 
in  no  case  shall  stairs  leading  to  any  gallery  be  left  open  on 
both  sides.  No  doors  shall  be  open  immediately  upon  a  flight 
of  stairs,  but  a  landing  at  least  the  width  of  the  door  shall 
be  provided  between  such  stairs  and  such  door. 

9.  STAGE  STAIRCASES.  At  least  two  independent 
staircases,  with  direct  exterior  outlets,  shall  also  be  provided 
for  the  service  of  the  stage  and  shall  be  located  on  the  oppo- 
site side  of  the  same. 


112  THEATRES  AND  PICTURE  HOUSES 

10.  STAIRWAYS.  All  staircases  for  the  use  of  the 
audience  shall  be  inclosed  with  walls  of  brick  or  of  fireproof 
materials  approved  by  the  superintendent  of  buildings,  in  the 
stories  through  which  they  pass,  and  the  openings  to  said 
staircases  from  each  tier  shall  be  of  the  full  width  of  said 
staircases.  All  stairs  within  the  building  shall  be  con- 
structed of  fireproof  material  throughout.  Stairs  from 
balconies  and  galleries  shall  not  communicate  with  the  base- 
ment or  cellar.  All  stairs  shall  have  treads  of  uniform  width 
and  risers  of  uniform  height  throughout  in  each  flight. 
Stairways  serving  for  the  exit  of  fifty  people  shall  be  at  least 
4  ft.  wide  between  railings  or  between  walls,  and  for  every 
additional  fifty  people  to  be  accommodated  6  in.  must  be 
added  to  their  width.  The  width  of  all  stairs  shall  be 
measured  in  the  clear  between  hand  rails.  In  no  case  shall 
the  risers  of  any  stairs  exceed  71/2  in.  in  height,  nor  shall  the 
treads,  exclusive  of  nosings,  be  less  than  lOy^  in.  wide  in 
straight  stairs.  No  circular  or  winding  stairs  for  the  use 
of  the  public  shall  be  permitted.  When  straight  stairs  return 
directly  on  themselves,  a  landing  of  the  full  width  of  both 
flights,  without  steps,  shall  be  provided.  The  outer  line  of 
landings  shall  be  curved  to  a  radius  of  not  less  than  2  ft.  to 
avoid  square  angles.  Stairs  turning  at  an  angle  shall  have  a 
proper  landing  without  winders  introduced  at  said  turn.  In 
stairs,  when  two  wide  flights  connect  with  one  main  flight, 
no  winders  shall  be  introduced,  and  the  width  of  the  main 
flight  shall  be  at  least  equal  to  the  aggregate  width  of  the  side 
flights.  All  stairs  shall  have  proper  landings  introduced  at 
convenient  distances. 

11.    STAIRWAY    HAND    RAILS.    All    inclosed    stair- 
cases shall  have  on  both  sides  strong  hand  rails  firmly  secured 


THEATRES  AND  PICTURE  HOUSES  113 

to  the  wall  about  3  in.  distant  therefrom  and  about  3  ft. 
above  the  stairs,  but  said  hand  rails  shall  not  run  on  level 
platforms  and  landings  where  the  same  is  more  in  length 
than  the  width  of  the  stairs.  All  staircases  8  ft.  and  over  in 
width  shall  be  provided  with  a  center  hand  rail  of  metal  not 
less  than  2  in.  in  diameter,  placed  at  a  height  of  about  3  ft. 
above  the  center  of  the  treads,  and  supported  on  wrought 
metal  or  brass  standard  of  sufficient  strength,  placed  not 
nearer  than  4  ft.  nor  more  than  6  ft.  apart  and  securely  bolted 
to  the  treads  or  risers  of  stairs,  or  both,  and  at  the  head  of 
each  flight  of  stairs,  on  each  landing,  the  post  shall  be  at 
least  6  ft.  in  height,  to  which  the  rail  shall  be  secured. 

12.  FIRE  ESCAPES.  There  shall  be  balconies  not  less 
than  6  ft.  in  width  in  the  said  open  courts  at  each  level  or 
tier  above  the  parquet  on  each  side  of  the  auditorium,  of 
sufficient  length  to  embrace  the  two  exits,  and  from  said 
balconies  there  shall  be  staircases  extending  to  the  ground 
level,  with  a  rise  of  not  over  8I/2  i^^-  to  a  step  and  not  less 
than  9  in.  tread  exclusive  of  the  nosing.  The  staircase  from 
the  upper  balcony  to  the  next  below  shall  be  not  less  than  48 
in.  in  width  clear,  and  from  the  first  balcony  to  the  ground 
4  ft.  in  width  in  the  clear  where  the  seating  capacity  of  the 
auditorium  is  for  1000  people  or  less,  4  ft.  6  in.  in  the  clear 
where  above  1000  and  not  more  than  1800  people,  and  5  ft. 
in  the  clear  where  above  1800  people  and  not  more  than  2500 
people,  and  not  over  5  ft.  6  in.  in  the  clear  where  above  2500 
people.  All  the  before  mentioned  balconies  and  staircases 
shall  be  constructed  of  iron  throughout,  including  the  floors, 
and  of  ample  strength  to  sustain  the  load  to  be  carried  by 
them,  and  they  shall  be  covered  with  a  metal  hood  or  awning, 
to  be  constructed  in  such  manner  as  shall  be  approved  by  the 


114  THEATRES  AND  PICTURE  HOUSES 

superintendent  of  buildings.  Where  one  side  of  the  building 
borders  on  the  street  there  shall  be  balconies  and  staircases 
of  like  capacity  and  kind,  as  before  mentioned,  carried  to 
the  ground. 

13.  DIAGRAM  OF  EXITS.  A  diagram  or  plan  of  each 
tier,  gallery  or  floor,  showing  distinctly  the  exits  therefrom, 
each  occupying  a  space  not  less  than  15  sq.  in.,  shall  be  printed 
in  black  lines  in  a  legible  manner  on  the  program  of  the 
performance.  Every  exit  shall  have  over  the  same  on  the 
inside  the  word  "Exit"  painted  in  legible  letters  not  less  than 
8  in.  high. 

PARTITIONS  AND  WALLS 

The  partitions  in  that  portion  of  the  building  which  con- 
tains the  auditorium,  the  entrance  and  vestibule  and  every 
room  and  passage  devoted  to  the  use  of  the  audience  shall 
be  constructed  of  fireproof  materials  including  the  furring 
of  outside  or  other  walls.  The  walls  separating  the  actors' 
dressing  rooms  from  the  stage  and  the  partitions  dividing 
the  dressing  rooms,  together  with  the  partitions  of  every 
passageway  from  the  same  to  the  stage,  and  all  other  parti- 
tions on  or  about  the  stage  shall  be  constructed  of  fireproof 
material  approved  by  the  superintendent  of  buildings.  All 
doors  in  any  of  said  partitions  shall  be  fireproof. 


THEATRES  AND  PICTURE  HOUSES  115 

PROSCENIUM  CONSTRUCTION 

A  fire  wall  built  of  brick  shall  separate  the  auditorium 
from  the  stage.  The  same  shall  extend  at  least  4  ft.  above  the 
stage  roof,  or  the  auditorium  roof  if  the  latter  be  the  higher, 
and  shall  be  coped.  Above  the  proscenium  opening  there 
shall  be  an  iron  girder  of  sufficient  strength  to  safely  support 
the  load  above,  and  the  same  shall  be  covered  v^ith  fireproof 
materials  to  protect  it  from  the  heat.  Should  there  be  con- 
structed an  orchestra  over  the  stage  above  the  proscenium 
opening  the  said  orchestra  shall  be  placed  on  the  auditorium 
side  of  the  proscenium  fire  v^all  and  shall  be  entered  only 
from  the  auditorium  side  of  said  vv^all.  The  molded  frame 
around  the  proscenium  opening  shall  be  formed  entirely  of 
fireproof  materials;  if  metal  be  used,  the  metal  shall  be  filled 
in  solid  v^ith  non-combustible  material  and  securely  anchored 
to  the  v^all  v^ith  iron.  No  doorway  or  opening  through  the 
proscenium  wall  from  the  auditorium  shall  be  allowed  above 
the  level  of  the  first  floor,  and  such  first  floor  openings  shall 
have  fireproof  doors  on  each  face  of  the  wall,  and  the  doors 
shall  be  hung  so  as  to  be  opened  from  either  side  at  all  times. 


116  THEATRES  AND  PICTURE  HOUSES 

PROTECTIVE  CURTAIN 

The  proscenium  opening  shall  be  provided  with  a  fire- 
proof metal  curtain  or  a  curtain  of  asbestos  or  other  fireproof 
material  approved  by  the  superintendent  of  buildings,  sliding 
at  each  end  within  iron  grooves  securely  fastened  to  the  brick 
wall  and  extending  into  such  grooves  to  a  depth  not  less  than 
6  in.  on  each  side  of  the  opening.  The  proscenium  curtains 
shall  be  placed  at  least  3  ft.  distant  from  the  footlights,  at 
the  nearest  point.  Said  fireproof  curtain  shall  be  raised  at 
the  commencement  of  each  performance  and  lowered  at  the 
close  thereof  and  be  operated  by  approved  machinery  for  that 
purpose. 

ROOF  OF  AUDITORIUM 

The  roof  over  the  auditorium  and  the  entire  main  floor  of 
the  auditorium  and  vestibule,  also  the  entire  floor  of  the 
second  story  of  the  front  superstructure  over  the  entrance, 
lobby  and  corridors,  and  all  galleries  and  support  for  the  same 
in  the  auditorium  shall  be  constructed  of  iron  and  steel  and 
fireproof  materials,  not  excluding  the  use  of  wood  floor- 
boards and  necessary  sleepers  to  fasten  the  same  to,  but  such 
sleepers  shall  not  mean  timbers  of  support,  and  the  space 
between  the  sleepers,  excepting  a  portion  under  the  stepping 
in  the  galleries,  which  shall  be  properly  fire  stopped,  shall  be 
solidly  filled  with  incombustible  material  up  to  underside  of 
the  floorboards. 


THEATRES  AND  PICTURE  HOUSES  117 

SEATS 

All  seats  in  the  auditorium  excepting  those  contained  in 
boxes  shall  be  not  less  than  32  in.  from  back  to  back,  measured 
in  a  horizontal  direction  and  firmly  secured  to  the  floor.  No 
seat  in  the  auditorium  shall  have  more  than  six  seats  inter- 
vening between  it  and  an  aisle  on  either  side.  No  stool  or 
seat  shall  be  placed  in  any  aisle.  All  platforms  in  galleries 
formed  to  receive  the  seats  shall  not  be  more  than  21  in.  in 
height  of  riser,  nor  less  than  32  in.  in  width  of  platform. 

STAGE 

1.  CONSTRUCTION.  All  that  portion  of  the  stage  not 
comprised  in  the  working  of  scenery,  traps  and  other  mechan- 
ical apparatus  for  the  presentation  of  a  scene,  usually  equal 
to  the  width  of  the  proscenium  opening,  shall  be  built  of  iron 
or  steel  beams  filled  in  between  with  fireproof  material,  and 
all  girders  for  the  support  of  said  beams  shall  be  of  wrought 
iron  or  rolled  steel.  The  fly  galleries  entire,  including  pin- 
rails,  shall  be  constructed  of  iron  or  steel,  and  the  floors  of 
said  galleries  shall  be  composed  of  iron  or  steel  beams  filled 
with  fireproof  materials,  and  no  wood  boards  or  sleepers 
shall  be  used  as  covering  over  beams  but  the  said  fioors  shall 
be  entirely  fireproof.    The  rigging  loft  shall  be  fireproof. 

2.  SKYLIGHTS.  There  shall  be  provided  over  the 
stage  metal  skylights  of  a  combined  area  of  at  least  one- 
eighth  the  area  of  said  stage,  fitted  up  with  sliding  sash  and 
glazed  with  double  thick  sheet  glass  not  exceeding  IV2  in. 
thick  and  each  pane  thereof  measuring  not  less  than  300 


118  THEATRES  AND  PICTURE  HOUSES 

sq.  in.,  and  the  whole  of  which  skylight  shall  be  so  constructed 
as  to  open  instantly  on  the  cutting  or  burning  of  a  hempen 
cord,  which  shall  be  arranged  to  hold  said  skylights  closed 
or  some  other  equally  simple  approved  device  for  opening 
them  may  be  provided.  Immediately  underneath  the  glass  of 
said  skylights  there  shall  be  wire  netting,  but  wire  glass  shall 
not  be  used  in  lieu  of  this  requirement. 

3.  SCENERY  AND  FITTINGS.  All  stage  scenery, 
curtains  and  decorations  made  of  combustible  material,  and 
all  woodwork  on  or  about  the  stage  shall  be  painted  or  satu- 
rated with  some  non-combustible  material  or  otherwise 
rendered  safe  against  fire,  and  the  finishing  coats  of  paint 
applied  to  all  woodwork  through  the  entire  building  shall  be 
of  such  kind  as  will  resist  fire  to  the  satisfaction  of  the  super- 
intendent of  buildings  having  jurisdiction. 


MISCELLANEOUS  REQUIREMENTS 

1.  CEILING.  The  ceilings  under  each  gallery  shall  be 
entirely  formed  of  fireproof  materials.  The  ceiling  of  the 
auditorium  shall  be  formed  of  fireproof  materials. 

2.  CEILING  COVERING.  None  of  the  walls  or  ceilings 
shall  be  covered  with  wood  sheathing,  canvas  or  any  com- 
bustible material.  But  this  shall  not  exclude  the  use  of  wood 
wainscoting  to  a  height  not  to  exceed  6  ft.,  which  shall  be 
filled  in  solid  between  the  wainscoting  and  the  wall  with  fire- 
proof materials. 

3.  FRONTS  OF  GALLERIES.  The  fronts  of  each 
gallery  shall  be  formed  of  fireproof  materials,  except  the 
capping,  which  may  be  made  of  wood. 


THEATRES  AND  PICTURE  HOUSES  119 

4.  LATHING.  All  lathing,  whenever  used,  shall  be  of 
wire  or  other  metal. 

5.  SHELVING  AND  CUPBOARDS.  All  shelves  and 
cupboards  in  each  and  every  dressing  room,  property  room 
or  other  storage  rooms  shall  be  constructed  of  metal,  slate 
or  some  fireproof  material. 


STORAGE  ROOMS;  WORKSHOPS 

No  workshop,  storage  or  general  property  room  shall  be 
allowed  above  the  auditorium  or  stage  or  under  the  same  or 
in  any  of  the  fly  galleries.  All  of  said  rooms  or  shops  may 
be  located  in  the  rear  or  at  the  side  of  the  stage,  but  in  such 
cases  they  shall  be  separated  from  the  stage  by  a  brick  wall 
and  the  openings  leading  into  said  portions  shall  have  fire- 
proof doors  on  each  side  of  the  openings  hung  to  iron  eyes 
built  into  the  wall. 


USE  AND  OCCUPANCY 

1.  RESTRICTIONS.  No  portion  of  any  building  here- 
after erected,  used  or  intended  to  be  used  for  theatrical  or 
other  purposes,  as  in  this  section  specified,  shall  be  occupied 
or  used  as  a  hotel,  boarding,  lodging  house,  factory,  work- 
shop or  manufactory,  or  for  storage  purposes,  except  as  may 
be  hereafter  specially  provided  for.  This  restriction  relates 
not  only  to  that  portion  of  the  building  which  contains  the 
auditorium  and  the  stage,  but  applies  also  to  the  entire 
structure  in  conjunction  therewith.  No  store  or  room  con- 
tained in  the  building  or  the  offices,  store  or  apartment 


120  THEATRES  AND  PICTURE  HOUSES 

adjoining,  as  aforesaid,  shall  be  let  or  used  for  carrying  on 
any  business,  dealing  in  articles  designated  as  specially 
hazardous  in  the  classification  of  the  New  York  Board  of 
Fire  Underwriters,  or  for  manufacturing  purposes.  No 
lodging  accommodations  shall  be  allowed  in  any  part  of  the 
building  communicating  with  the  auditorium.  When 
located  on  a  corner  lot  the  portion  of  the  premises  bordering 
on  the  side  street  and  not  required  for  the  uses  of  the  theatre 
may,  if  such  portions  be  not  more  than  25  ft.  in  width,  be 
used  for  offices,  stores  or  apartments,  provided  the  walls 
separating  this  portion  from  the  theatre  proper  are  carried 
up  solidly  to  and  through  the  roof,  and  that  a  fireproof  exit  is 
provided  for  the  theatre  on  each  tier,  communicating  with 
balconies  and  staircases  leading  to  the  street  in  manner  pro- 
vided elsewhere  in  this  section;  said  exit  passages  shall  be 
entirely  cut  off  by  brick  walls  from  said  offices,  stores  or 
apartments,  and  the  floors  and  ceilings  in  each^tier  shall  be 
fireproof. 

2.  ABOVE  THEATRE.  Nothing  herein  contained  shall 
prevent  a  roof  garden,  art  gallery  or  rooms  for  similar  pur- 
poses being  placed  above  a  theatre  or  public  building, 
provided  the  floor  of  the  same,  forming  the  roof  over  such 
'theatre  or  building,  shall  be  constructed  of  iron  or  steel  and 
fireproof  materials,  and  that  said  floor  shall  have  no  covering 
boards  or  sleepers  of  wood,  but  shall  be  of  tile  or  cement. 
Every  roof  over  said  garden  or  rooms  shall  have  all  supports 
and  rafters  of  iron  or  steel  and  be  covered  with  glass  or  fire- 
proof materials,  or  both,  but  no  such  roof  garden,  art  gallery 
or  room  for  any  public  purposes  shall  be  placed  over  or  above 
that  portion  of  any  theatre  or  other  building  which  is  used 
as  a  stage. 


THEATRES  AND  PICTURE  HOUSES  121 

EXTRACT  OF  THE  NEW  YORK  BUILDING  LAWS 
RELATIVE  TO  PICTURE  THEATRES 

Motion  picture  theatres  must  be  on  the  ground  floor. 

All  ceilings  must  be  plastered  or,  if  metal  ceilings  are  used, 
they  must  be  lined  with  plasterboard.  Cellar  ceilings  must 
be  treated  in  the  same  manner. 

FLOOR  LOADS.    Floor  loads  to  be  90  lb.  safe  load. 

BALCONY.  Balcony  not  to  exceed  25  per  cent  of  the 
capacity  of  the  house. 

STAIRS.  No  balcony  stairs  shall  lead  to  or  from  the 
main  floor.     Stairways  to  be  of  fireproof  construction. 

AISLES.  All  aisles  shall  be  at  least  3  ft.  at  narrowest 
point. 

SEATING.  Seats  spaced  not  less  than  32  in.  back  to  back. 
Thirteen  seats  allowed  between  aisles. 

FIRE  ESCAPES.  There  shall  be  at  least  one  fire  escape 
from  the  balcony  to  the  ground. 

BOOTH.  The  projection  room  shall  be  fireproof  and  have 
a  vent  flue  to  the  outside  of  at  least  50  sq.  in. 


-J 


J.  R.  CLANCY 

Manufacturer  of 

THEATRICAL  STAGE 

HARDWARE 


1000-1020  West  Belden  Ave. 
SYRACUSE,  N.  Y. 


Stage  equipment  furnished  and  erected  in  any  part 

of  the  United  States 


Importer  of 

SCENERY,  CANVAS 
and  SCRIMS 


OXYGEN    AND    HYDROGEN    GASES    COM- 
PRESSED  IN    CYLINDERS    FOR   THE    ROAD 


Lally  Columns 


Cement  Filled 


Fireproof 


Used  almost  exclusively  in  all 

first-class  theatres 

Write  for  our  descriptive  catalogue 

UNITED  STATES  COLUMN  CO. 

Cambridge,  Mas^. 

LALLY  COLUMN  CO.  of  NEW  YORK 

Calyer  and  Russell  Sts.,  Brooklyn,  N.  Y. 

LALLY  COLUMN  CO.  of  CHICACO 

4001  VVentworth  Ave.,  Chicago,  III. 


JACOBSON  ^  Company 

Designers  and  Workers  in 

Plaster,  Papier  Mache  and 
Composition  Ornaments 

FOR  INTERIOR  DECORATION 

Specialists  in  the  Plastic  Decoration 

of  Theatres 

Imitation  of  All  Stones 

and  Marbles 

ESTIMATES,    CORRESPONDENCE,    CATALOGUES 
241  East  44th  Street,  New  York  City,  N.  Y. 


MARBLELOID  FIRE-PROOF 
SANITARY  FLOORING 

The  Standard  of  Modern  Theatre  Flooring 

May   be   Applied   Upon   New   or   Old   Wood   or 

Cement  Finished  Floors. 
Apiiroved  absolutely  Fire-proof,  Germ-proof, 
Water-proof.  Easy  and  Noiseless  to  the 
Tread,  not  Slippery,  requires  no  fabric  cov- 
ering— thus  saving  initial  cost  in  short  period 
of  service,  less  expensive  than  tile  and 
terrazzo. 

M.^nufactured  and  Installed  by 

THE  MARBLELOID  COMPANY 

1328  Broadway,  New  York,  N.  Y. 

Branch  Offices  ami  Agencies  throu^^hoLit  the  United  States  and  Canada. 

Also  Manufacturers  of  Compressed  Cork  Tile  and  Tredlite 

A  Flexit'le  Cork  Coiniiosition  Tiling 

Wi'ite  for  booklet 


Vonnegut  riard\vare  Co. 

Indianapous,  Indiana 

BUILDERS'  MATERIALS 

of  all  kinds 

Distributors  of  the 

Von  Dupm  Sell-Releasing 
Fire  Exit  Devices 

Theatre  Builaing   Equipment   a   Speciany 


For  the  Proper  Ventilation  of  Theatres 

Specify 
the  well  known 

ROYAL 

DOUBLE    CONE 
^f^    VENTILATOR 

The  scientific  design  of 

conical       surfaces       is 

such    as    to    create    a    positive    draft    upward. 

Thev  provide  an  ever-changing  supply  of   fresh 

air  and  have  a  STRONG  STEADY  PULL. 

Catalog  on   request 

ROYAL  VENTILALOR  CO.,  415  Locust  St.,  Phila.,  Pa. 


For  all  information 

concerning  the  proposition 

of  Theatre  Fires 

write  to 

NATIONAL  AUTOMATIC 
SPRINKLER  ASSOCIATION 

OFFICE:  80  MAIDEN  LANE 
NEW  YORK  CITY 


MEDUSA 

WHITE 

portland  cement 
wat?.rproofing 
wat?:rproof  <:d 

WHITi  PORTLAND 
CEMENT 

These  products  have  been 
used  extensively  in  the  con- 
struction   of    theaters    and 

We  have  agents  in  all  cities  "^0^'°^  picture  houses,  and 

*  are  being  specified  by   Mr. 

Write  for  illustrated  Arthur  S.  Meloy.  Architect, 
Catalogs  Bridgeport,  Conn. 

Sandusky  Portland  Cement  Co.,  Cleveland,  o. 


Kenny 

Electrical  Mfg.  Co. 

55  Wall  Street 

Room  323 

NEW  YORK  CITY 

Mfg.  of  the  Kenny  Signal  Systems 
for  Theatre  Seats 


Theatres  and  Motion  Picture  Houses 

can  be  thoroughly  and  satisfactorily  heated 

by  the 

RICHARDSON 

Steam  or  Water  Boilers 

or 

"Perfect"  Warm  Air  Furnaces 

Will  be  pleased  to  send  catalogues 

RICHARDSON  &  BOYNTON  CO., 

Manufacturers 
31  West  31st  Street  :         :         :         :         :         NEW  YORK 


Scenery— Drop  Curtains 

llllllllllllllllllllllllllllllllllllllllllllllilllllllllllllllllllllllllMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 

LEE  LASH  STUDIOS 

308  to  316  EAST  48th  STREET,  NEW^    YORK 
Broadway  Offices:    LONG    ACRE    BUILDING 


Universal  Electric  Stage  Lighting  Co. 

KLIEGL  BROS.,  Props.  240  West  50th  Street,  New  York  City 

Manufacturers  of 

Stage  Lighting  Apparatus  and  Effect 

Electrical  Signs  and  Illuminations 

Studio  Outfits  Arc  Lamps  Accessories 

EVERYTHING  ELECTRICAL  FOR  THEATRES 


AIR  FIRST 


The  success  of  your  theatre  depends  on  two 
things: 

GOOD   AIR   and    GOOD    FILMS    OR    PLAYS. 

AIIl  first,  because  no  matter  how  good  your 
films  or  plays,  if  the  theatre  is  close,  hot  and 
stuffy,   people  will  so  elsewhere. 

If  you  want  capacity  houses,  see  that  your 
theatre  is  properly  ventilated,  which  m.iy 
be  easily,  inexpensively  and  permanently 
maintained  by  the  installation  of 


(( 


Globe  "Ventilators 


They  are  absolutely  noiseless — there  are  no 
moving  parts  to  get  out  of  order — ^they  aie 
storm  proof,  simple,  efficient.  Install  them 
and  forget  them;  they  will  be  busy  every 
minute  24  hours  a  day,  helping  you  make 
more  profits. 


Globe  Ventilator  Co.,  Troy,  n.y. 


■^■■■■•■■■•■■■■■■■■■■■■■■■■■■■■•■^■■■■■■■■■•■■■■■■■■■■■■■■■■■■■■■■■■■•■■■■■■■■■■■>' 


CRANE 

PLUMBING 

and 
HEATING 
FIXTURES 

ARE  STANDARD 
THE  WORLD  OVER 

CRANE  CO. 

Founded  1855 

CHICAGO,  ILL. 

44  Branch  Houses 


FREDENBURG 
LOUNSBURY 

381  Fourth  Ave.,  Cor.  27th  St. 
NEW  YORK 


HY-TEX  Face  Bricks 

New  Textures 
New  Shades 
New  Types 


Write  for  samples 


THE  FAMOUS 


CANTON  STEEL  CEILINGS 

The   only   steel    ceiling 
made  on  a  tool  steel  die 


Repressed  Beads,  Die  Cut  Nail 
Holes.     Absolute  Accuracy. 

DURABLE,  ARTISTIC, 
FIRE  RESISTING 

Specialists  in  Interior  Finish  of 

THEATERS,  CHURCHES 

and  all 

PUBLIC  INSTITUTIONS 

Including  Private  House  Work 

THE  CANTON  STEEL  CEILING  GO. 

497-501    WEST   ST.,    NEW   YORK   CITY 
AGENTS  IN  ALL  PRINCIPAL  CITIES 


WM.  MARTIN,  JR.  E.  V.  O'BRIEN 

Martin  &  O'Brien 

MASONS  & 
BUILDERS 

Warner  Building 
BRIDGEPORT,  CONN. 

Theatres  and  Heavy  Construction 

a  Specialty 


The  Hart  &  Grouse  Co. 

Smokeless  Water  Tube 

Boilers 

1\/TECHANICAL  ventilation,  as  now  installed  in  theatres, 
motion  picture  houses  and  public  building-s,  means  a  large 
coal  consumption  in  boilers.  The  H  &  C  Boiler  burns  soft  coal 
with  smokeless  results.  Soft  coal  is  cheaper  and  contains  more 
available  heat  ton  for  ton  than  does  hard  coal.  If  you  burn  soft 
coal  anyway,  the  H  &  C  Boiler  will  take  less  coal  for  the  same  work. 
This  means  economy  and  satisfaction. 

g^^vJS    HART  ^GROUSE  CO.    ^^^^"ctr.S8g 

UTICA,  NEW  YORK 


giniiiiliiiiiiiiiiliillllllllllllinil 


^fMm  SEEING  COAPAiT 

Exclusive  Manufacturers  of 

Furnishings  for  Theatres,  Schools, 
Churches  and  all  Public  Buildings 


iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiig 


I  When  you  want  Opera  Chairs,  remember  we  have  i 

I  50,000  Chairs  | 

I  ALWAYS  IN  STOCK  | 

I  in  6  different  styles  in  Imitation  Mahogany  and  Circassian  Wal-  i 

I  nut  finishes,  assuring  you  satisfactory  selection  and  i 

I  IMMEDIATE  SERVICE  j 

I  Other  designs  of  Upholstered  and  Unupholstered  Chairs  un-  | 

I  limited  in  number,  furnished  in  25  to  50  days  after  receipt  of  i 

I  specifications,  depending  on  character  of  chairs  selected.  | 

I  Our  Consultation  Service,  specializing  in  designing  economical  | 

I  arrangements  for  theatre  seating  is  tendered  to  you  without  any  | 

I  charge  whatever.  | 

I  Descriptive  literature  on  request.  I 

I  For  prompt  attention  address  :  i 

I  General  Offices:     LYTTON  BUILDING,  CHICAGO,  ILLINOIS  j 

I  Sales  offices  in  all  principal  cities  i 

^i:i!:i;iiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiii:iiiiiiiiiiiiiiiiii!Nii>iiiiiiiiMiiiiiiiiiii;iiiiiiii!iiiiii;iiiiiiiiiiiiiiiiiiiiiiii!iiiiiiiiiiiiiiiii!iiiiii!i;i^ 


i 


PROTECTION  FOR  YOUR  PATRONS- 
THE  JOHNS-MANVILLE  WAY 


J-M    ASBESTOS    BOOTHS 

No  material 
Ls  more  suited 
to  motion  pic- 
ture booth 
cons  truction 
than  asbes- 
tos— 

F  irst,  be- 
cause it  Ls  a 
positive  pro- 
tection for 
audience  or 
operator  in 
case  of  fire, 
and 

Second,  be- 
cause it  makes 
a  lighter  and 
cooler  booth 
than  metal,  is 
gas,    smoke 

and  sound-proof,  and  is  a  non-conductor  of  flectricity. 
There  are  three  styles— permanent,  semi-portable  and 

portable;  all  sizes. 


J-M  FIRE  EXTINGUISHER 


The  incipient  blaze  "Ijack 
stage,"  the  electric  switch- 
board fire  or  the  film  fire  will 
never  cavse  panic  and  dis- 
aster if  a  Johns-Manville 
Fire  Extinguisher  is  in  reach. 

It  effectively  puts  out  any 
lUle  fire  before  it  grows  big. 

There  are  two  methods  of 
operation:  Pump-as-you-use, 
or  I^ump-up,  open  the  nozzle 
and  discharge  automatically 
— leaving  both  hands  free  to 
aim  or  direct  stream  in 
cramped   quarters. 

Price  $8.  brass  or  nickel, 
including  black  enameled 
bracket. 


J  .Ml  I  lOHTIWI^  CFDX/ir^F  Kxpert  study  of  individual  theatre  lighting  problems 
"■  *"IV*nill^\*  ^bl^Vlwb  is  offered  ))y  this  service,  guaranteeing  the  most  per- 
fect results  possible.  Frink  polaralite  signs  are  especially  adapted  for  exit  signs,  markers,  etc. 
Let  us  tell  you  more  about  this  service. 

J-M  ASBESTOS  ROOFINGS — Johns-Manville  Asbestos  Roofings  in  Built-Up  or  Ready  form  are 
the  highest  types  of  commercial  roofing.  They  are  highly  fire-resistant  and  give  longest  wear 
with  least  upkeep  costs.     Approved  by  Fire  Underwriteis. 

H.  W.  JOHNS-MANVILLE  CO.,  NEW  YORK  AND  EVERY  LARGE  CITY 


\ 


\\ll 


The  WONbER  paint 


WHEN  YOU  SPECIFY 


"ZINOLIN-and-OIL"  Don't  Add  ''Or  Equal" 

Zinolin  is  the  one  outside  paint  that  has  no  ''equal."  It  is  the  original  and  only 
product  offering  all  the  durability  of  pure  zinc,  hut  with  the  brittlcness  and  non- 
oil- taking  properties  of  zinc  removed. 

ZINOLIN 

IhCArnold-ized"  zinc 

is  the  "wonder  paint''  because  it  is  guaranteed  not  to  crack,  peel  or  chalk — because  it  offers 
the  superior  brilliance  of  zinc  whiteness — because  the  colors  added  to  it  never  fade — and 
because  it  absorbs  twice  the  oil  that  lead  does — which  makes  its  luster  last  as  long  as  the 
paint  lasts.  Zinolin  goes  one-third  farther  and  hides  jet  black  with  two  coats.  In  specifj'ing 
just  say — "Zinolin-and-oil"  instead  of  lead-and-oil.     Inquiries  invited. 

KEYSTONE  VARNISH  COMPANY,  1206  Keystona  Bldg.,  Brooklyn,  N.  Y. 

Maimers  of  justly  famous  Keystona,  the  original   washable  icall  paint 


CHANNEL     READY      FOR      MORTAR 


OPEN    VERTICAL 
AIR5PAC 


INTERIOR     PLA5TLR. 
APPLIED     DIRECTLY 
TO    THE      WALL 


INTERLOCK      AND 
MOISTURE      CHECK 


2  inch    horizontal 
air:3pace,  giving 
insulation    again5t 
heat.  cold    and 

M0I5TURE 


CHANNEL      FILLED 
WITH      MORTAR 
PREPARATORY     TO 
LAYING    THE    NEXT 
'FISKLOCK" 


FINISHED      EXTERIOR 
OF     WALL    THE     FACE 
OF      EACH       UNIT    IS  OF 
REGULAR     BRICK  3I2E 

WEB      CONNECTING 
THE       DOUBLE      WALLS 

TWIN      WALLS     OF 
50LID    3  INCH 
FIREPROOF    MATERIAL 


"Fisklock'-'Tapestry"  Brick 

HARDONCOURT-FISKE  PATENTS 

It  is  the  most  beautiful — it  is  "Tapestry"  Brick — the 
same  size,  color,  texture  and  mortar  joint. 

It  is  the  most  serviceable — it  is  fireproof,  vermin  proof, 
repair  proof,  moisture  proof  and  is  stronger  than  walls  of 
either  hollow  tile  or  solid  common  brick. 

It  is  the  cheapest — except  frame  or  common  brick  and 
costs  only  a  trifle  more  than  either. 

It  is  sold  under  the  "Open  Price"  Policy — one  price  to  all. 
Send  for  Catalogue  and  full  information  to  either  office. 

FISKE  &  COMPANY,  Inc. 

Sole  Manufactu rers  of  "  Tapestry  Brick 

25  ARCH  STREET,  BOSTON,  MASS. 
ARENA    BUILDING,     NEW    YORK 


TRADE  DIRECTORY 

List  of  Leading  Houses  Furnishing  Materials,  Supplies  and 

Equipment  for  Theatres 

AIR  WASHERS. 
American  Blower  Co.,  Detroit,  Mich. 

AMUSEMENT  DEVICES. 

W.  H,  Osterlie  Amusement  Co.,  500  Fifth  Ave.,  New  York  City. 

Novelty  Machine  Co.,  2  Rector  St.,  New  York  City. 

The  A.  J.  Smith  Mfg.  Co.,  3247  W.  Van  Buren  St.,  Chicago,  111. 

ARCHITECTS. 

Aromer  &  Somers,  Chicago,  111. 
Chapman  &  Magney,  Chicago,  111. 
Henry  Herts,  New  York  City. 
Jardine,  Hill  &  Murdock,  New  York  City. 
Thomas  W.  Lamb,  New  York  City. 
G.  Albert  Lansburg,  Kansas  City,  Mo. 
Mahler  &  Cordell,  Chicago,  111. 
Arthur  S.  Meloy,  Bridgeport,  Conn. 
Nathan  Myers,  Bloomfield,  N.  J. 
E.  T.  Madoric,  Kansas  City,  Kan. 
Neville  &  Bagge,  New  York  City. 
J.  E.  O.  Prindmore,  Chicago,  111. 
Proudfoot  &  Hawson,  Des  Moines,  Iowa. 
H.  C.  Severance,  New  York  City. 
T.  W.  Wintworth,  Paterson,  N.  J. 

ASBESTOS  CURTAINS. 
The  H.  W.  Johns-Manville  Co.,  Madison  Ave.  and  Forty-first  St.,  New  York  City. 

ASBESTOS  ROOFING. 

The  H.  W.  Johns-Manville  Co.,  New  York  City. 

BOILERS   (Heating) 

Richardson  &  Boynton  Co.,  31  West  Thirty-first  St.,  New  York  City. 
Hart  and  Crouse  Co.,  Utica,  New  York. 

BOOTHS  (Projection). 
The  H.  W.  Johns-Manville  Co.,  Madison  Ave.  and  Forty-first  St.,  New  York  City. 

BRASS  WORK. 

American  Brass  Works,  Ansonia,  Conn. 

BRICKS   (Face). 

Fredenburg  &  Lounsbury,  381  Fourth  Ave.,  New  York  City. 

Fisk  &  Co.,  40  West  Thirty-second  St.,  New  York  City. 

Washington  Brick,  Lime  &  Sewer  Pipe  Co.,  Washington  St.,  Spokane,  Wash. 

CAMERAS   (Motion  Picture). 

Nicholas  Power  Co.,  New  York  City,  90  Gold  St. 

Moving  Picture  Camera  Co.,  New  York  City. 

Precision  Machine  Co.,  317  East  Eighty-fourth  St.,  New  York  City. 


CAPITALS  (Composition). 

Decorators  Supply  Co.,  209  South  Clinton  St.,  Chicago,  111. 
Fischer  &  Jirouch,  Cleveland,  Ohio. 

CEMENT. 

Atlas  Portland  Cement  Co.,  New  Yorlv  City. 
Sandusky  Portland  Cement  Co.,  Cleveland,  Ohio. 

COMPOSITION  FLOORING. 
Marbleoid  Co.,  The,  Broadway  and  Thirty-fourth  St.,  New  York  City. 

COMPOSITION  ORNAMENTS. 

Decorators  Supply  Co.,  209  South  Clinton  St.,  Chicago,  111. 
Fischer  &  Jirouch,  Cleveland,  Ohio. 

CONTRACTORS. 
Martin  &  O'Brien,  Bridgeport,  Conn. 

COLUMNS. 
United  States  Column  Co.,  Erie  &  Albany  Sts.,  Cambridge,  Mass. 

CURTAINS    (Scenic). 
Lee-Lash  Studios,  308  East  Forty-eighth  St.,  New  York  City. 

DECORATIONS. 

Decorators  Supply  Co.,  209  South  Clinton  St.,  Chicago,  111. 

Fischer  &  Jirouch,  Cleveland,  Ohio. 

Kehrwieder  Co.,  31  Union  Square,  West,  New  York  City. 

F.  Ferrari,  96  William  St.,  New  Haven,  Conn. 

C.  R.  Root,  104  Asylum  St.,  Hartford,  Conn. 

ELECTRICAL  EQUIPMENT. 

Universal  Stage  Lighting  Co.,  240  West  Fiftieth  St.,  New  York  City. 
General  Electric  Co.,  Schenectady,  N.  Y. 

ELECTRIC   (Blower)    FANS. 

American  Blower  Co.,  Detroit,  Mich. 

New  York  Blower  Co.,  New  York  and  Chicago. 

ELECTRIC  SIGNS. 
Kliegel  Bros.,  240  West  Fiftieth  St.,  New  York  City. 

ELEVATORS  and  ESCALATORS. 
Otis  Elevator  Co.,  Eleventh  Ave.  and  Twenty-sixth  St.,  New  York  City. 

FILM  MANUFACTURERS. 

American  Film  Mfg.  Co.,  New  York  City. 

Broncho  Motion  Picture  Co.,  New  York  City. 

Eclair  Film  Co.,  New  York  City. 

Keystone  Film  Co.,  Forty-second  St.  and  Broadway,  New  York  City. 

Majestic  Film  Co.,  New  Rochelle,  N.  Y. 

New  York  Motion   Picture   Corporation,  New  York  City. 

Thanhouser  Film  Co.,  New  Rochelle,  N.  Y. 

Mutual  Film  Co.,  New  York  City. 

Universal  Film  Mfg.  Co.,  Forty-eighth  St.  and  Broadway,  New  York  City. 

Thomas  A.  Edison,  Orange,  N.  J. 

Essanay  Film  Mfg.  Co.,  Chicago,  111. 

Kalem  Co.,  New  York  City. 


Lubin  Mfg.  Co.,  Philadelphia,  Pa. 
Pathe  Freres,  New  York  City. 
Selig  Polyscope  Co.,  Chicago,  111. 
The   Vitagraph   Co.,  Brooklyn,  N.  Y. 

HEATING  AND  VENTILATING  APPARATUS. 

American  Blower  Co.,  Detroit,  Mich. 

New  York  Blower  Co.,  New  York  City. 

Hart  &  Grouse  (Boilers),  Utica,  N.  Y. 

Richardson  &  Boynton  Co.    (Boilers),  31  West  Thirty-first  St.,  New  York  City. 

LIGHTING  FIXTURES. 

H.  W.  Johns-Manville  Co.,  Madison  Ave.  and  Forty-first  St.,  New  York  City. 

Universal  Stage  Lighting  Co.,  New  York  City. 

National  X-Ray  Reflector  Co.,  505  Fifth  Ave.,  New  York  City. 

METAL  CEILINGS. 
Canton  Metal  Ceiling  Co.,  Canton,  Ohio. 

OPERA  CHAIRS. 
American  Seating  Co.,  14  East  Jackson  Boulevard,  Chicago,  111. 

ORNAMENTAL  IRON. 

Berger  Mfg.  Co.,  Canton,  Ohio. 

Van  Dorn  Iron  Works,  Cleveland,  Ohio. 

Hartford  Iron  Works,  Inc.,  East  Hartford,  Conn. 

PAINT. 

Keystone  Varnish  Co.,  71  Otsego  St.,  Brooklyn,  N.  Y. 

PANIC  BOLTS. 

P.  &  F.  Vorbin,  New  Britain,  Conn. 
Reading  Hardware  Co.,  Reading,  Pa. 
Russell  &  Erwin  Mfg.  Co.,  New  Britain,  Conn. 
Sargent  Hardware  Co.,  New  Haven,  Conn. 
Vonnegut  Hardware  Co.,  Indianapolis,  Ind. 

PIPE. 
A.  M.  Byers  Co.,  Pittsburg,  Pa. 
Crane  Co.,  836  South  Michigan  Ave.,  Chicago,  111.     Branches  in  principal  cities. 

PLASTIC  RELIEF  ORNAMENTS. 

Decorators  Supply  Co.,  209  South  Clinton  St.,  Chicago,  111, 

Fischer  &  Jirouch,  Cleveland,  Ohio. 

Kehrwieder  Co.,  31  Union  Square  West,  New  York  City. 

F.  Ferrari,  96  William  St.,  New  Haven,  Conn. 

C.  R.  Root,  104  Asylum  St.,  Hartford,  Conn. 

ROOFING. 
The  H.  W.  Johns-Manville  Co.,  New  York  City. 

SCENIC  PAINTERS. 

Frank  M.  Green  Scenic  Co.,  Louisville,  Ky. 
The  New  York  Studios,  Times  Building,  New  York  City. 
Lee-Lash  Studios,  308  East  Forty-eighth  St.,  New  York  City. 
Austin  Rowell,  Pittsburg,  Pa. 

SCREENS. 

Alfred  L.  Simpson,  Inc.,  113  West  132d  St.,  New  York  City. 
Photo  Play  Co.,  30  West  Lake  St.,  Chicago,  111. 


RAILINGS. 

Baldwin  Brass  Works,  Chicago,  111. 

Buffalo  Wire  Works,  Buffalo,  N.  Y. 

Columbus  Brass  Co.,  Columbus,  Ohio. 

Rochester  Brass  &  Iron  Works  Co.,  Rochester,  N.  Y. 

The  Newman  Mfg.  Co.,  Cincinnati,  Ohio. 

Smith  Wire  &  Iron  Works  Co.,  Chicago. 

SEATS. 
American  Seating  Co.,  14  East  Jackson  Boulevard,  Chicago,  111. 

SHEET  METAL. 

Berger  Mfg.  Co.,  Canton,  Ohio. 
W.  H.  Mullins  Co.,  Salem,  Ohio. 
Canton  Mfg.  Co.    (Ceilings),  Canton,  Ohio. 

SHUTTERS   (IRON  &  STEEL). 

Berger  Mfg.  Co.,  Canton,  Ohio. 
Cornell  Iron  Works,  New  York  City. 
Kinnear  &  Gager  Mfg.  Co.,  Columbus,  Ohio. 
J.  G.  Wilson  Corporation,  New  York  City. 

SKYLIGHTS. 

G.  Drouve  Co.,  Bridgeport,  Conn. 
Berger  Mfg.  Co.,  Canton,  Ohio. 
W.   H.   Mullins   Co.,   Salem,   Ohio. 

SPRINKLER   SYSTEMS. 
General  Fire  Extinguisher  Co.,  New  York  City. 

STAGE  EQUIPMENT. 
J.  R.  Clancy,  Syracuse,  N.  Y. 

STAGE  LIGHTING. 
Kliegel  Bros.,  240  West  Fiftieth  St.,  New  York  City. 

TERRA  COTTA   (Architectural). 

American   Terra  Cotta  &  Ceramic  Co.,  Peoples  Gas   Bldg.,   Chicago,  111. 

Clark  &  Sons,  N.,  116  Natoma  St.,  San  Francisco,  Cal. 

Denny-Renton  Clay  &  Coal  Co.,  Hoge  Bldg.,  Seattle,  Wash. 

Denver  Terra  Cotta  Co.,  West  First  Ave.,  Denver,  Col. 

Federal  Terra  Cotta  Co.,  Ill  Broadway,  New  York  City. 

Gladding,  McBean  &  Co.,  Crocker  Bldg.,  San  Francisco,  Cal. 

Indianapolis  Terra  Cotta  Co.,  Indianapolis,  Ind. 

Kansas  City  Terra  Cotta  &  Faience  Co.,  19th  St.  &  Manchester  Ave.,  Kansas  City. 

Maryland  Terra  Cotta  Co.,  North  Ave.  &  Oak  St.,  Baltimore,  Md. 

Midland  Terra  Cotta  Co.,  Chamber  of  Commerce,  Chicago,  111. 

New  Jersey  Terra  Cotta  Co.,  Singer  Building,  New  York  City. 

New  York  Architectural  Terra  Cotta  Co.,  401  Vernon  Ave.,  Bor.  Queens,  N.  Y.  C. 

Northwestern  Terra  Cotta  Co.,  2525  Clybourn  Ave.,  Chicago,  111. 

St.  Louis  Terra  Cotta  Co.,  5815  Manchester  Ave.,  St.  Louis,  Mo. 

South  Amboy  Terra  Cotta  Co.,  150  Nassau  St.,  New  York  City. 

Washington  Brick,  Lime  &  Sewer  Co.,  Washington  St.,  Spokane,  Wash. 

Western  Terra  Cotta  Co.,  Franklin  Ave.  &  Mo.  Pac.  Ry.,  Kansas  City,  Kans. 

VACUUM  CLEANERS. 

Spencer  Turbine  Cleaner  Co.,  Hartford,  Conn. 
United  Electric  Co.,  Canton,  Ohio. 
Thompson  Mfg.  Co.,  Des  Moines,  Iowa. 


VALVES. 

Crane  Co.,  New  York  and  all  principal  cities. 

VARNISH  MANUFACTURERS. 

Keystone  Varnish   Co.,   Brooklyn,   N.   Y. 
Chicago  Varnish  Co.,  Chicago,  111. 
Standard  Varnish  Works,  Chicago,  111. 
Edward  Smith,  Brooklyn,  N.  Y. 

VENTILATORS. 

Globe  Ventilator  Co.,  Troy,  N.  Y. 

Autoforce  Ventilating  System,  53  Devonshire  St.,  Boston,  Mass. 

Knowles  Mushroom  Ventilator  Co.,  Air  Diffuser  Heads,  9  Church  St.,  New  York. 

WIRE  WORK. 

Buffalo  Wire  Works  Co.,  Buffalo,  N.  Y. 

Smith  Wire  &  Iron  Works,  Chicago,  111. 

Rochester  Brass  &  Wire  Works  Co.,  Rochester,  N.  Y. 


I 


THK  LIBRARY 
INIVERSITY  OF  (  AIJFORNIA 

Santa  Barbara 


THIS  BOOK  IS  Dl  E  ON  THK  LAST  DATE 
STAMPED  BELOW. 


.    .    „1987    ^ 
RmiFEB121987E 


lOOM  11/86  Series  9482 


X 


Univerj 

Sout 

Lib 


